77Ways to Pray with Your Kids
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The Absolute Sound
Rock Music Reviews Music Sonics Music Sonics Music Sonics Van Morrison. Born to Sing: No Mark Knopfler: Privateering. Hoff Ensemble: Quiet Winter Plan B. blue note. Mercury. Night. 2l (blu-ray and lp). Van Morrison’s first studio album since Nearly 35 years into a recording career Pick the wrong 30 seconds of this 2L 2008’s Keep It Simple marks his return to that began with the self-titled Dire Straits release and you may wonder if you’ve the Blue Note label (where he picked up album, singer-songwriter-guitarist-produ- wandered into Mannheim Steamroller a Grammy nomination for 2003’s What’s cer Knopfler holds as steady on his Land. Fear not. Though this set of 15 Wrong with This Picture?) and finds the pop course as such older baby-boom peers short compositions by the Norwegian and R&B singer and songwriter strolling as Van Morrison, Eric Clapton, and J.J. team of Geir Bøhren and Bent Åserud, on the jazzier side of street. Jazz is even Cale. He's amassed a boggling résumé rendered by the Hoff Ensemble plus six referenced in “Goin’ Down to Monte of collaboration—Tina Turner, Bob singers, is clearly of the Jazz Lite stripe, Carlo” on which Morrison complains Dylan, Chet Atkins, Steely Dan, Randy the music is harmonically inventive and about hearing “phony pseudo jazz” at Newman, Buddy Guy, the Chieftains, never cloying. The fact that the singing is a restaurant, and it’s the subject of the Prince, and others—and soundtrack in Norwegian and not translated anywhere swinging “Close Enough for Jazz.” The credits. -
Leading Congregational Singing Song/Hymn Leading Is an Important
Leading Congregational Singing LEADING AS A VOCALIST - Joyce Poley DEVELOPING A STYLE Song/hymn leading is an important skill that can make an enormous difference to the way a congregation sings. If the song leader is primarily a vocalist, there are a number of qualities that are important for success: having enthusiasm for singing; being able to establish a good rapport with the congregation; being comfortable with your own voice; having accurate pitch and a pleasing vocal quality; being excited about introducing new ideas and repertoire. These attributes will help ensure a good singing experience for both the leader and the congregation. Song/hymn leaders use a variety of approaches when leading the congregation, and no single approach or style is “right”. What is important is to develop a style that is unique to your own personality and comfort level. The following are some things to consider: • Energy & enthusiasm Probably nothing affects your success as a song leader as much as your own energy and enthusiasm. People respond to those who love what they do; enthusiasm truly is contagious. Those who already enjoy singing will simply become even more enthusiastic; those who are more reluctant, or feel they can’t sing, will want to be a part of all this positive energy. The more encouragement they get from the leader, the better they will sing. The better they sing, the more confident they become, and the more willing to try new things. Enjoy yourself and be at ease, and they will journey almost any distance with you into the music. -
Saint Francis Xavier Parish March 1, 2020
SAINT FRANCIS XAVIER PARISH MARCH 1, 2020 ‘The Lord God formed man out of the clay of the ground and blew into his nostrils the breath of life, and so man became a living being.’ ~Genesis 2:7 OUR MISSION STATEMENT ST. FRANCIS XAVIER IS A CATHOLIc- Jesuit parish Ignited by the Eucharist To PRAY, SERve, DO JUSTIce, and LoVE. "Turn away from sin and be faithful to the Gospel" On the first day of Lent we bless ashes and we wear them. We wear them as a sign of penance during this season of penance. We wear them also as a badge of who we are as Christians, followers of Christ, committed to him and to what he stands for. Everyone who sees us will witness this badge of our Christian commitment. Our public proclamation of who we are demands that we follow up with action. The Lenten readings summon us to return to a God who is slow to anger and rich in mercy, who gives back the joy of salvation and sustains a willing spirit and who knows how our hearts can turn quietly to him. Paul summons Christians to be ambassadors to reconciliation, because God made him who did not know sin to be sin, so that in him we might become the very holiness of God. Turn away from accusation turn toward embrace Turn away from judgment turn toward acceptance Turn away from exclusion turn toward belonging…. Ash Wednesday is a peculiar liturgical celebration that fascinates us. Its distinguish- ing mark is the tracing of a black cross, made out of ashes, across the forehead. -
Download Praying with Saint Francis Xavier
Praying with Saint Francis Xavier The Novena of Grace Praying with St Francis Xavier The Novena of Grace The Church has always rejoiced in the “great cloud of witnesses”1 who are the saints. These men and women, over the generations and in so many places, have shown what it is to live the Christian life, sometimes to the point of surrendering their own lives in martyrdom. Their earthly lives may have ended but their prayers continue in heaven. The Church has long believed that the saints intercede on our behalf, asking God for the graces and blessings which we forget to ask for or for which we find no time to pray: “Their intercession is their most exalted service to God’s plan. We can and should ask them to intercede for us and for the whole world.”2 Devotion to Francisco Xavier has always been immensely popular as he fires the imagination with his heroic travels to distant peoples and lands across the globe. This novena is nine days of prayer, in the company of St Francis Xavier, through the letters he wrote. As a Jesuit, Francisco underwent and then, in turn, led others through the Spiritual Exercises of his great friend St Ignatius Loyola. His writings reflect the spiritual insights and preoccupations of the Spiritual Exercises. We pray to know ourselves better, to discern the will of God for each of us in the daily unfolding of our lives, to hear and generously answer Christ’s call to follow him, whatever the cost, and to understand that everything is unmerited gift from God, poured out lavishly upon us “as rays from the sun or waters from the spring.”3 The present form of the Novena was begun in the seventeenth century by Fr Marcello Mastrilli SJ (1603-37). -
Bluesrhythmguitarebook.Pdf
How to play Blues Rhythm Guitar like the Blues Masters Antony Reynaert www.BestBluesGuitarLessonsOnline.com copyright (c) Guitar Mastery Solutions Contents ! Introduction: How to think like a blues guitar master . 4 I. Expanding your Rhythm Guitar Playing A. How to transform your basic blues riffs . 5 B. Combining Riffs & Chords . 7 C. Riffs based on the Blues Scale . 9 II. Creativity Exercises A. Making you Rhythm Guitar Playing sound more ‘Interesting’ . 11 ! Creativity Exercises for Rhythm ! ! Creativity Exercises for Dynamics B. Expanding your Rhythm guitar self expression . 1 5 C. About Inspiration: what to play if you don’t know what to play . 15 ! Performance Tips III. Tablature Examples A. Example 1 . 1 6 B. Example 2 . 19 About the Author copyright (c) Guitar Mastery Solutions Introduction: How to Think like a Blues Guitar Master Do you know the feeling when you are requested to ‘play something’, whether being called out by a family member or at a jamsession? Do you often feel that you don’t know what to play or that you repeat yourself far too much, when confronted with such a request? When you watch the blues masters play, they are having fun on stage. They seem to be performing from a place within themselves that is free and careless. A place where they don’t have to think ‘what to play’ anymore. Perhaps you think that you should be born with some kind of natural talent and that you probably don’t possess this talent. The truth is that the masters of blues guitar aren’t born with this talent. -
Venturing in the Slipstream
VENTURING IN THE SLIPSTREAM THE PLACES OF VAN MORRISON’S SONGWRITING Geoff Munns BA, MLitt, MEd (hons), PhD (University of New England) A thesis submitted for the degree of Doctor of Philosophy of Western Sydney University, October 2019. Statement of Authentication The work presented in this thesis is, to the best of my knowledge and belief, original except as acknowledged in the text. I hereby declare that I have not submitted this material, either in full or in part, for a degree at this or any other institution. .............................................................. Geoff Munns ii Abstract This thesis explores the use of place in Van Morrison’s songwriting. The central argument is that he employs place in many of his songs at lyrical and musical levels, and that this use of place as a poetic and aural device both defines and distinguishes his work. This argument is widely supported by Van Morrison scholars and critics. The main research question is: What are the ways that Van Morrison employs the concept of place to explore the wider themes of his writing across his career from 1965 onwards? This question was reached from a critical analysis of Van Morrison’s songs and recordings. A position was taken up in the study that the songwriter’s lyrics might be closely read and appreciated as song texts, and this reading could offer important insights into the scope of his life and work as a songwriter. The analysis is best described as an analytical and interpretive approach, involving a simultaneous reading and listening to each song and examining them as speech acts. -
Beginning Strings – Keep It Simple Denese Odegaard Fargo Public Schools, Fargo ND [email protected]
Beginning Strings – Keep it Simple Denese Odegaard Fargo Public Schools, Fargo ND [email protected] I. Layering – the first few weeks A. Recruiting B. Parent involvement – Parent Night and Rental Night C. Instrument safety – unpacking, tuners, bow hair etc. D. First lessons - get them playing and reading music right away • holding instrument • open strings and fingering – by rote at first (rote warm-ups on teacher CD) • pizzicato (Lesson 1) • first fingered notes F#ED (Lesson 1) • solfege • intervals • stay on three notes while bow hold is introduced • establish good tone bowing on open strings and then go back and play previously learned songs in book • all instruments play F#ED on the D string until A is introduced along with the concept of string crossing because of the bass strings D and G • new note G follows A • establishing practice habits II. Introduction of new concepts • rhythms are introduced in this sequence : q e quarter rest h h. • when a new note and interval are introduced, a series of practice measures are learned before using the new note in songs • interval progression is unison, 2 nd , 3 rd , Perfect 5 th (because of string crossing in the bass to A), Perfect 4 th, 6 th , octave and 7 th and respective solfege syllables • time signatures start with 2/4, and then 3/4 and 4/4 (C for common time used as well) • bowing styles: pizzicato, staccato, and lift • students learn how phrases create the form of the music by marking letters of phrases in the boxes provided (ABA1B1) • ensembles: ostinato, round, tonic and dominant accompaniment • dynamics used are forte and piano • keys signatures and scales used are D major, G major and C major • bass players shift to III, II and II ½ positions and always play the melody as written (not dropping an octave for certain notes) • violin and viola learn 4 th finger notes • students learn about Mozart, Vivaldi, Beethoven, and Dvorak and play their music • introduction of 1 st and 2 nd endings and repeat signs III. -
Second Sunday of Lent February 28, 2021
Second Sunday of Lent February 28, 2021 Scripture Readings Genesis 22:1-18 During the Season of Lent, we will sing the follow- Romans 8:31-34 ing Mass propers at 9:30 , 11:00 & 7:30 Masses: Mark 9:1-10 PENITENTIAL ACT Ky-ri-e, e-le-i-son Music Chri-ste, e-le-i-son 9:30 am, 11:00 am, & 7:30 pm Ky-ri-e, e-le-i-son Gathering #644 There Is a Wideness in HOLY, HOLY, HOLY God’s Mercy San-ctus, San-ctus, San-ctus Do-mi-nus De-us Sa-ba-oth. Ple-ni sunt cae-li et ter-ra glo-ri-a tu-a. Psalm Response “I will walk before the Lord in Ho-san-na in ex-cel-sis. the land of the living.” Be-ne-di-ctus qui ve-nit in no-mi-ne Do-mi-ni. Ho-san-na in ex-cel-sis. Gifts Preparation #642 What Wondrous Love LAMB OF GOD Is This A-gnus De-i qui tol-lis pec-ca-ta mun-di: mi-se-re-re no-bis. Recessional #574 Crown Him with Many A-gnus De-i qui tol-lis pec-ca-ta mun-di: Crowns mi-se-re-re no-bis. A-gnus De-i qui tol-lis pec-ca-ta mun-di: do-na no-bis pa-cem. The texts of the Mass responses, as well as the Glo- . ria and Creed, can be found in the front cover of the Gather hymnal. Sunday evening Benediction hymns can be found in the Gather hymnal: #139, #137, and #615. -
Virtual Choir for the Rest of Us Handout
VIRTUAL CHOIR for THE REST OF US Carol Spradling Music Director, First Congregational Church of Essex Junction, VT 1 OVERVIEW: TOPICS Software - - DAW (director) EQUIPMENT - BandLab (director; choir) What you (director) will need MIDI vs audio What they (choir/musicians) will need BandLab app/interface (mobile & desktop) Hardware Components: - Keyboard(s) Mastering and troubleshooting: sync, intonation, - microphone(s) dynamics - Audio interface - Cables: MIDI, XLR, TRS - Desktop, mobile device 2 WORKFLOW VISUAL 1 Director lays down accompaniment tracks Direct into BandLab or into DAW mixed down into BL. 2 Get music to singers and rehearse over Zoom Write in your breathing plan, dynamics, other interp details, before sending PDF. (CameraScan) 3 Singers record their tracks Teach them how to record; give them a deadline Director adds mastering 4 (reverb, EQ) and mixes down MP3 sent to worship team for inclusion in worship webcast 3 ANATOMY OF A DIRECTOR TRACK ● ACCOMPANIMENT = leads the interpretation; precise ● VOCAL PARTS = I record every note of the vocals. This is omitted in final mix. ● Play it the way you want it! Precise cutoffs, rhythm, diction. Director lays down ● CLICK TRACK = to keep the rhythm precise and accompaniment tracks clean. Don’t rely on BL’s metronome, because it 1 Direct into BandLab or into DAW mixed down into BL. can be changed inadvertently by group members (or turned off). To be reliable and accurate, this is created as a MIDI file using a percussion voice. 4 ANATOMY OF A ZOOM REHEARSAL Audio setting: Enable original sound ● EVERYONE IS MUTED once singing starts (not yet possible to “sing together” on Zoom) ● PLAY TRACK THROUGH ZOOM. -
Progressions
PROGRESSIONS Play along slowly CIRCLE OF FIFTHS • G-E7-A7-D7-G MORE CIRCLE OF FIFTHS • D-B7-E7-A7-D • C-A7-D7-G7-C • A-F#7-B7-E7-A • F-D7-G7-C7-F • Bd-G7-C7-F-Bd • Ed-C7-F-Bd-Ed • E-C#-F#7-B7-E 1-6 minor-4-5-1 • G-EM-C-D-G • C-AM-F-G-C • D-BM-G-A-D • E-C#M-A-B-E • F-DM-Bd-C-F 4-2M-6M-3M-5-1-6M-1 • C-AM-EM-BM-D-G-EM-G • F-DM-AM-EM-G-C-AM-C • G-EM-BM-F#M-A-D-BM-D • A-F#M-C#M-G#M-B-E-C#M-E • Bd-GM-DM-AM-C-F-DM-F • D-BM-F#M-C#M-E-A-F#M-A ROCKY TOP • G-C-G-EM-D-G (Repeat) EM-D-F-C-G- F-G-F-G • C-F-C-AM-G-C (Repeat) AM-G-Bd-F-C- Bd-C-Bd-C • D-G-D-BM-A-D (Repeat) BM-A-C-G-D- C-D-C-D • E-A-E-C#M-B-E (Repeat) C#M-B-D-A- E-D-E-D-E 1-4-5-1-4-1-5-1 • G-C-D-G-C-G-D-G • C-F-G-C-F-C-G-C • D-G-A-D-G-D-A-D • E-A-B-E-A-E-B-E • F-Bd-C-F-Bd-F-C-F • A-D-E-A-D-A-E-A • B-E-F#-B-E-B-F#-B THE BASICS AND WHY THEY’RE IMPORTANT I think it’s very important to start with the basics no matter what your level. -
“A Lunch with Tommy Emmanuel” Completely Worn
“A lunch with Tommy Emmanuel” Original Dutch article by Robin van Wechem for de Gitarist magazine, March 2012 Translated by Caspar Steinebach. Edited by Wim, Bas den Herder. www.guitaracademy.nl Foto's by Walter Goyen www.h4p.com Completely worn out, as if it is badly damaged by sand paper, that’s what Tommy Emmanuels Maton EBG808 looks like. Despite the looks of his guitar, the one-man band easily plays the bassline, drums and melody simultaneously. In January, Emmanuel was on his world tour. A perfect opportunity for guitarvituoso Wim den Herder to invite him to give a workshop in Amsterdam. The big number of bicycles piled up in front of the Badcuyp music center shows that there is something going on inside. No less than 80 fans are packed in the small music hall, just a few yards away from the crowded market outside in the streets. They are waiting for what may well become their musical highlight of the year: An afternoon with Tommy Emmanuel a.k.a. ‘The Fingerpicking Guru from Down Under’. “Tommy is one of my big guitar heroes together with Gary Moore, Jan Akkerman and Harry Sacksioni”, Wim says. “I'm very excited to welcome him here today!” Don’t give up ! Wim is also considered ‘more than just talented’. He got his first guitar as a present for his sixth birthday. Four years later he composed his first songs. Two years after that, in 1994, he made his debut on Dutch television, where he played together with Jan Akkerman in a TV-show called “Geef Nooit Op” (“Never Give Up”). -
TEAR in the THROAT by JEFFREY CHRISTOPHER FALLIS
TEAR IN THE THROAT by JEFFREY CHRISTOPHER FALLIS (Under the Direction of Ed Pavlic) ABSTRACT A creative dissertation that investigates the complexity of the human voice and its relationship to language, music, and song through a combination of poetry, memoir, critical essays, drama, and prose fragments. The dissertation focuses on the anatomy and mechanics of the voice, scat singing and doo-wop’s nonsense syllables, the voice and its restrictions in the architecture of song, and the human voice and its connection to the animal and celestial. INDEX WORDS: Voice, American popular music, Van Morrison, Federico Garcia Lorca TEAR IN THE THROAT by JEFFREY CHRISTOPHER FALLIS A.B., University of Georgia, 1999 M.F.A., University of Virginia, 2003 A Dissertation Submitted to the Graduate Faculty of The University of Georgia in Partial Fulfillment of the Requirements for the Degree DOCTOR OF PHILOSOPHY ATHENS, GEORGIA 2015 © 2015 Jeffrey Christopher Fallis All Rights Reserved TEAR IN THE THROAT by JEFFREY CHRISTOPHER FALLIS Major Professor: Ed Pavlic Committee: Susan Rosenbaum Andrew Zawacki Electronic Version Approved: Julie Coffield Interim Dean of the Graduate School The University of Georgia May 2015 iv DEDICATIONS To my committee for their patience and their guidance. To my parents for their longstanding and unwavering support. To Daniel Citro for good ideas and advice about the Beatles and Bataille. To Caroline Young for the insinuation of interstellar possibilities. To Kevin Young for tips on how to play the long game. To Teddy for necessary distraction. And, finally, to Jennifer Bogdanich, with love, for love: I couldn’t have done it without you.