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Singer's Brochure
Our rates are as follows: Within Iosco County $100.00 per ½ hour show Let The $175.00 per hour show Within 100 miles of East Tawas $200.00 per ½ hour show $350.00 per hour show Within Lower Michigan $400 per ½ hour show (and over 100 miles) $500 per hour show We do perform outside of Michigan. Call for rates. Please fill out the following information: Bring Music To Your Ears! Name_________________________________________Phone___________________________ Address_______________________________________________________________________ City_________________________________State_____________Zip______________________ Name of program(s) desired________________________________________________________ Email address ___________________________________________________________________ Performance Date________________________Performance Time_________________________ Location of Performance: Name of building___________________________________________ Street Address______________________________________City_____________Zip__________ Cost of Performance = $_______Payment is expected at the time of the performance. Checks should be made payable to Tawas Bay Players. Please send completed form to: Pat Casey www.tawasbayplayers.com 720 East State 989.362.8373 East Tawas, MI 48730 PATRIOTIC A VAUDEVILLE SHOW DISNEY MADE IN THE U.S.A. 50s & 60s BROADWAY 20th CENTURY MUSIC Oh! How I Hate To Get Up In The Morning A Good Old Vaudeville Show Zip-A-Dee-Doo-Dah Made In The U.S.A. One Of Those Songs That's Entertainment By The Light Of The Silvery Moon Sound Off -
Mixed Folios
mixed folios 447 The Anthology Series – 581 Folk 489 Piano Chord Gold Editions 473 40 Sheet Music Songbooks 757 Ashley Publications Bestsellers 514 Piano Play-Along Series 510 Audition Song Series 444 Freddie the Frog 660 Pop/Rock 540 Beginning Piano Series 544 Gold Series 501 Pro Vocal® Series 448 The Best Ever Series 474 Grammy Awards 490 Reader’s Digest Piano 756 Big Band/Swing Songbooks 446 Recorder Fun! 453 The Big Books of Music 475 Great Songs Series 698 Rhythm & Blues/Soul 526 Blues 445 Halloween 491 Rock Band Camp 528 Blues Play-Along 446 Harmonica Fun! 701 Sacred, Christian & 385 Broadway Mixed Folios 547 I Can Play That! Inspirational 380 Broadway Vocal 586 International/ 534 Schirmer Performance Selections Multicultural Editions 383 Broadway Vocal Scores 477 It’s Easy to Play 569 Score & Sound Masterworks 457 Budget Books 598 Jazz 744 Seasons of Praise 569 CD Sheet Music 609 Jazz Piano Solos Series ® 745 Singalong & Novelty 460 Cheat Sheets 613 Jazz Play-Along Series 513 Sing in the Barbershop 432 Children’s Publications 623 Jewish Quartet 478 The Joy of Series 703 Christian Musician ® 512 Sing with the Choir 530 Classical Collections 521 Keyboard Play-Along Series 352 Songwriter Collections 548 Classical Play-Along 432 Kidsongs Sing-Alongs 746 Standards 541 Classics to Moderns 639 Latin 492 10 For $10 Sheet Music 542 Concert Performer 482 Legendary Series 493 The Ultimate Series 570 Country 483 The Library of… 495 The Ultimate Song 577 Country Music Pages Hall of Fame 643 Love & Wedding 496 Value Songbooks 579 Cowboy Songs -
Lister); an American Folk Rhapsody Deutschmeister Kapelle/JULIUS HERRMANN; Band of the Welsh Guards/Cap
Guild GmbH Guild -Light Catalogue Bärenholzstrasse 8, 8537 Nussbaumen, Switzerland Tel: +41 52 742 85 00 - e-mail: [email protected] CD-No. Title Track/Composer Artists GLCD 5101 An Introduction Gateway To The West (Farnon); Going For A Ride (Torch); With A Song In My Heart QUEEN'S HALL LIGHT ORCHESTRA/ROBERT FARNON; SIDNEY TORCH AND (Rodgers, Hart); Heykens' Serenade (Heykens, arr. Goodwin); Martinique (Warren); HIS ORCHESTRA; ANDRE KOSTELANETZ & HIS ORCHESTRA; RON GOODWIN Skyscraper Fantasy (Phillips); Dance Of The Spanish Onion (Rose); Out Of This & HIS ORCHESTRA; RAY MARTIN & HIS ORCHESTRA; CHARLES WILLIAMS & World - theme from the film (Arlen, Mercer); Paris To Piccadilly (Busby, Hurran); HIS CONCERT ORCHESTRA; DAVID ROSE & HIS ORCHESTRA; MANTOVANI & Festive Days (Ancliffe); Ha'penny Breeze - theme from the film (Green); Tropical HIS ORCHESTRA; L'ORCHESTRE DEVEREAUX/GEORGES DEVEREAUX; (Gould); Puffin' Billy (White); First Rhapsody (Melachrino); Fantasie Impromptu in C LONDON PROMENADE ORCHESTRA/ WALTER COLLINS; PHILIP GREEN & HIS Sharp Minor (Chopin, arr. Farnon); London Bridge March (Coates); Mock Turtles ORCHESTRA; MORTON GOULD & HIS ORCHESTRA; DANISH STATE RADIO (Morley); To A Wild Rose (MacDowell, arr. Peter Yorke); Plink, Plank, Plunk! ORCHESTRA/HUBERT CLIFFORD; MELACHRINO ORCHESTRA/GEORGE (Anderson); Jamaican Rhumba (Benjamin, arr. Percy Faith); Vision in Velvet MELACHRINO; KINGSWAY SO/CAMARATA; NEW LIGHT SYMPHONY (Duncan); Grand Canyon (van der Linden); Dancing Princess (Hart, Layman, arr. ORCHESTRA/JOSEPH LEWIS; QUEEN'S HALL LIGHT ORCHESTRA/ROBERT Young); Dainty Lady (Peter); Bandstand ('Frescoes' Suite) (Haydn Wood) FARNON; PETER YORKE & HIS CONCERT ORCHESTRA; LEROY ANDERSON & HIS 'POPS' CONCERT ORCHESTRA; PERCY FAITH & HIS ORCHESTRA; NEW CONCERT ORCHESTRA/JACK LEON; DOLF VAN DER LINDEN & HIS METROPOLE ORCHESTRA; FRANK CHACKSFIELD & HIS ORCHESTRA; REGINALD KING & HIS LIGHT ORCHESTRA; NEW CONCERT ORCHESTRA/SERGE KRISH GLCD 5102 1940's Music In The Air (Lloyd, arr. -
Let Us Sing As We Go: Votes for Women
Let Us Sing As We Go, Votes for Women! title from Suffrage Song, 1915, words by James Weber Linn, music by Eleanor Smith Songs The Suffragists Sang: A Compilation Of Suffrage Lyrics To Commonly Known Tunes Come Vote, Ladies! tune: Good-night, Ladies! Come vote, ladies; come vote ladies; come vote, ladies; The civic call obey. Gladly we will cast a vote, cast a vote, cast a vote, Gladly we will cast a vote On Election Day! words: Eugénie M. Rayé-Smith, 1912; S-1912-3(A) A Suffrage Songster for Group Singing Compiled by Steve Woodbury [email protected] Edition 1.1, January 2020 The lyrics in this collection are all in the public domain. The collection is copyright © 2019 by Steven Woodbury. Permission is granted to reproduce it for group singing and for educational purposes, but not for sale (beyond printing costs). I look forward to hearing from users about when and where and how you have used this collection. Let’s get people singing these songs again! 1 Rights of Woman Why should a Woman lie tune: God Save America In base obscurity, (America) Her talents hid, Her providence assign’d GOD save each Female’s right, Her soul to be confin’d, Show to her ravish’d sight Is not her gentle mind Woman is Free; By virtue led? Let Freedom’s voice prevail, And draw aside the veil, With this engaging charm, Supreme Effulgence hail, Where is so much the harm Sweet liberty. For her to stand. To join the grand applause Man boasts the noble cause, Of truth and equal laws, Nor yields supine to laws, Or lend the noble cause, Tyrants ordain; Her feeble hand. -
Cuban Music Teaching Unit
Thesis Advisor: Frank Martignetti THE MUSIC AND DANCE OF CUBA: by Melissa Salguero Music Education Program Submitted in partial fulfillment of the requirements for the degree Master of Science in Elementary Education in the School of Education University of Bridgeport 2015 © 2015 by Melissa Salguero Salguero 2 Abstract (Table of Contents) This unit is designed for 5th grade students. There are 7 lessons in this unit. Concept areas of rhythm, melody, form, and timbre are used throughout the unit. Skills developed over the 7 lessons are singing, moving, listening, playing instruments, reading/writing music notation, and creating original music. Lesson plans are intended for class periods of approximately 45-50 minutes. Teachers will need to adapt the lessons to fit their school’s resources and the particular needs of their students. This unit focuses on two distinct genres of Cuban music: Son and Danzón. Through a variety of activities students will learn the distinct sound, form, dance, rhythms and instrumentation that help define these two genres. Students will also learn about how historical events have shaped Cuban music. Salguero 3 Table of Contents: Abstract……………………………………………..…………………………..2 Introduction……………………………………….……………………………4 Research…………………………………………..……………………………5 The Cuban Musical Heritage……………….……………………………5 The Discovery of Cuba…….……………………………………………..5 Indigenous Music…...…………………………………………………….6 European Influences……………………………………………….……..6 African Influences………………………………………………………...7 Historical Influences……………………….……………………………..7 -
Marching Band
19397 Guts 5-16 MSSeries: 5/12/09 2:05 PM Page 5 MARCHING BAND Series Name Grade Level* Page No. Band Music Press Marching Band...............................................3-4 .................................................15 Competition Series ........................................................................3...................................................10 Contemporary Marching Band.....................................................3-4 ..................................................9 Crowd Pleasers............................................................................2-3 .................................................12 Durand...........................................................................................4...................................................15 Easy Contemporary Marching Band ............................................2-3 .................................................10 Esprit ...........................................................................................2-3 ..................................................8 G. Schirmer, Inc. ...........................................................................5...................................................15 Hal Leonard Easy Marching Band................................................2-3 .................................................10 Hal Leonard Marching Band ........................................................3-4 ..................................................9 Hal Leonard Power Charts.............................................................3...................................................12 -
Sousa Cover the ONE.Qxd 24/7/08 2:38 Pm Page 1
Sousa cover THE ONE.qxd 24/7/08 2:38 pm Page 1 Chan 4535 CHANDOS BRASS FROM MAINE TO OREGON THE WILLIAMS FAIREY BAND PLAYS SOUSA MARCHES CONDUCTED BY MAJOR PETER PARKES CHAN 4535 BOOK.qxd 24/7/08 2:41 pm Page 2 Sousa Marches 1 Semper Fidelis arr. C.W. Hewitt 2:55 2 The Crusader arr. Peter Parkes 3:36 3 El Capitan March 2:33 4 The Invincible Eagle arr. Peter Parkes 3:47 5 King Cotton 2:58 6 Hands across the Sea arr. Peter Parkes 2:57 7 Manhattan Beach arr. C.W. Hewitt 2:25 8 Our Flirtations arr. James Howe 2:43 9 The Picadore arr. Peter Parkes 2:58 10 The Gladiator March 2:58 11 The Free Lance arr. Norman Richardson 4:33 12 The Washington Post arr. C.W. Hewitt 2:46 13 The Beau Ideal arr. Peter Parkes 3:36 14 The High School Cadets arr. John Hartmann 2:45 15 The Fairest of the Fair arr. Norman Richardson 3:50 16 The Thunderer arr. Harry Mortimer 2:57 17 The Occidental arr. Peter Parkes 2:55 18 The Liberty Bell arr. J. Ord Hume 3:49 19 The Corcoran Cadets arr. Peter Parkes 3:15 John Philip Sousa (1854–1932) 20 National Fencibles March arr. Norman Richardson 3:36 Royal College of Music 21 The Black Horse Troop arr. Peter Parkes 3:34 22 The Gridiron Club March arr. James Howe 3:38 23 The Directorate arr. Norman Richardson 2:38 24 The Belle of Chicago arr. -
Blueprint for the Arts N Music Letter from the Chancellor
Grades PreK - 12 - PreK Grades For Teaching and Learning in Learning and Teaching For Office of Arts and Special Projects New York City Department of Education 52 Chambers Street, Room 205 New York, New York 10007 Phone: 212.374.0300 Fax: 212.374.5598 Email: [email protected] website: schools.nyc.gov/artseducation New York City Department of Education © 2005 Carmen Fariña, Chancellor Second Edition (2008) Contributors Third Edition (2015) Contributors Dorita Gibson, Senior Deputy Chancellor Phil Weinberg, Deputy Chancellor of Teaching Music Curriculum Development Co-Chairs Music Educators, Music Curriculum Development Co-Chairs New York City Department of Education and Learning Barbara Murray, Director of Music Programs Barbara Murray, Director of Music Anna Commitante, Senior Executive Director, Office of Arts and Special Projects, Donald Christiansen Robert Lamont, Music Consultant Curriculum, Instruction & Professional Learning New York City Department of Education Roberta Feldhusen Paul King, Executive Director, Office of Arts and Shellie Bransford, Music Consultant Janet Grice Special Projects Elizabeth Norman, Director of Education, Elizabeth Guglielmo Music Educators, St. Luke’s Orchestra New York City Department of Education First Edition (2004) Contributors Jaime Jacobs Gregory Pierson, Director of Education, Maria Schwab Eric Dalio Music Curriculum Development Co-Chairs Brooklyn Philharmonic Thomas Toriello Elaine Fauria Nancy Shankman, Director of Music/ George Wanat Ian Kanakaris Deputy Senior Instructional Manager for Arts Education Moishe Weidenfeld Music from the Inside Out Contributors Portia Lagares Thomas Cabaniss, Director of Education, Jerome Korman, Project Director, Music Consultant, New York Philharmonic Office of Arts and Special Projects Cultural and University Community Music Educators, Nancy Shankman, Director of Music, Deputy Senior Dr. -
Yankee Doodle Dandy.Pub
tm Footsteps for Freedom Student lessons along the Overmountain Victory National Historic Trail Yankee Doodle ongs are used to share ideas and to communicate with people in ways that would help them Dandy Sremember. “One good song is worth a thousand addresses and proclamations,” said Joseph Barlow, a poet, statesman and friend of Thomas Jefferson, at the beginning of the American Revolution. Yankee Doodle In fact, during the American Revolution, songs were Yankee Doodle went to town used to shape how people thought about issues and A’riding on a pony other people. The popular song Yankee Doodle is a He stuck a feather in his cap good example. It was written by a British man to make And called it macaroni. fun of the American colonists. The British used it to ridicule those who thought differently from Chorus: themselves. They would sing it as a way of reinforcing Yankee doodle, keep it up, their beliefs and communicating to others that Yankee doodle dandy; American colonists were stupid and silly people Mind the music and the step, incapable of self-government. At the time, a “doodle” And with the girls be handy. was a foolish person. “Yankees” were the colonists in New England. “Macaroni” was a fashionable hair style Father and I went down to camp, popular in England at the time. Along with Captain Gooding; And there we saw the men and boys, The original song whose tune was taken for As thick as hasty pudding. Yankee Doodle was called Lydia Fisher's Jig. Chorus Sing the tune again with these words: Lucy Locket lost her pocket, There was Captain Washington Kitty Fisher found it; Upon a slapping stallion, Nothing in it, nothing on it, A-giving orders to his men, But the binding 'round it. -
Section IX the STATE PAGES
Section IX THE STATE PAGES THE FOLLOWING section presents information on all the states of the United States and the District of Columbia; the commonwealths of Puerto Rico and the Northern Mariana Islands; the territories of American Samoa, Guam and the Virgin Islands; and the United Na tions trusteeships of the Federated States of Micronesia, the Marshall Islands and the Republic of Belau.* Included are listings of various executive officials, the justices of the supreme courts and officers of the legislatures. Lists of all officials are as of late 1981 or early 1982. Comprehensive listings of state legislators and other state officials appear in other publications of The Council of State Governments. Concluding each state listing are population figures and other statistics provided by the U.S. Bureau of the Census, based on the 1980 enumerafion. Preceding the state pages are three tables. The first lists the official names of states, the state capitols with zip codes and the telephone numbers of state central switchboards. The second table presents historical data on all the states, commonwealths and territories. The third presents a compilation of selected state statistics from the state pages. *The Northern Mariana Islands, the Federated States of Micronesia, the Marshall Islands and the Republic of Belau (formerly Palau) have been administered by the United Slates since July 18, 1947, as part of the Trust Territory of the Pacific Islands (TTPl), a trusteeship of the United Nations. The Northern Mariana Islands separated themselves from TTPI in March 1976 and now operate under a constitutional govern ment instituted January 9, 1978. -
Visual Culture and Us-Cuban Relations, 1945-2000
University of New Mexico UNM Digital Repository History ETDs Electronic Theses and Dissertations 9-10-2010 INTIMATE ENEMIES: VISUAL CULTURE AND U.S.-CUBAN RELATIONS, 1945-2000 Blair Woodard Follow this and additional works at: https://digitalrepository.unm.edu/hist_etds Recommended Citation Woodard, Blair. "INTIMATE ENEMIES: VISUAL CULTURE AND U.S.-CUBAN RELATIONS, 1945-2000." (2010). https://digitalrepository.unm.edu/hist_etds/87 This Dissertation is brought to you for free and open access by the Electronic Theses and Dissertations at UNM Digital Repository. It has been accepted for inclusion in History ETDs by an authorized administrator of UNM Digital Repository. For more information, please contact [email protected]. INTIMATE ENEMIES: VISUAL CULTURE AND U.S.-CUBAN RELATIONS, 1945-2000 BY BLAIR DEWITT WOODARD B.A., History, University of California, Santa Barbara, 1992 M.A., Latin American Studies, University of New Mexico, 2001 M.C.R.P., Planning, University of New Mexico, 2001 DISSERTATION Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy History The University of New Mexico Albuquerque, New Mexico May, 2010 © 2010, Blair D. Woodard iii ACKNOWLEDGEMENTS The writing of my dissertation has given me the opportunity to meet and work with a multitude of people to whom I owe a debt of gratitude while completing this journey. First and foremost, I wish to thank the members of my committee Linda Hall, Ferenc Szasz, Jason Scott Smith, and Alyosha Goldstein. All of my committee members have provided me with countless insights, continuous support, and encouragement throughout the writing of this dissertation and my time at the University of New Mexico. -
Reading Spanish American National Anthems: "Sonograms"
Reading Spanish American National Anthems: “Sonograms” of National Identity ROBERT NEUSTADT In Costa Rica it is not uncommon to hear men greet one another on the street with the question, “¿Cómo va la lucha ”? (How goes the struggle?). 1 The reply is always consistent: “ tenaz” (tenacious). The expression derives from a lyric from the Costa Rican national anthem: En la lucha tenaz, de fecunda labor In the tenacious struggle, of fertile labor que enrojece el hombre la faz That reddens man’s face This reference to the national anthem in everyday talk underscores the extent to which the Costa Rican himno nacional has penetrated the lives of Costa Ricans. The symbolism is not difficult to comprehend. A man engaged in the tenacious struggle of agricultural work epitomizes the official representation of an ideal Costa Rican. As an image of Costa Rican identity, the lucha tenaz has, in some ways, been adopted by the populace. Many Costa Ricans feel proud of their nation, in large part because of its singular army-free condition. At the same time, to ask about the struggle usually elicits a smile if not laughter. Though Costa Ricans tend to be patriotic, the non-idyllic reality of quotidian existence (combined with deep-seated governmental corruption) injects a twist of irony into the lucha . By laughing at the expression, Costa Ricans poke fun at the hyperbolic idealism of their national anthem. The parody also arises from a process of recontextualization. Making reference to the national anthem “on the streets”—the speaker uses this song, usually reserved for civic ceremonies, to underscore the gap between official discourse and everyday reality.