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Winter Beet And Pomegranate Salad. In each of the four movements, the two recorders begin with the organ, so a count-in is necessary. Players must take note that the beat immediately before the downbeat is a one-beat rest silence. So for a six-beat count-in, the players hear: [rest]- play; a four-beat would be [rest]- play, etc. The rest is of course where they breathe. Pierre, sopranos; and Anthony St. In the first of the three sections, the alto takes the Tallis tune, which most audiences know from the famous Vaughan Williams Fantasy on a Theme by Thomas Tallis.
The tenor presents the tune in the middle section. In the final section, the alto takes up the sopranino optionally and the two voices deliver the tune imitatively. Players of intermediate ability will encounter few technical difficulties in this piece. The composer is, himself, a native of Schenectady.
Possibly the greatest challenge in this quartet is achieving pure tuning in the bare octaves and fifths, as well as in the parallel octave passages.
Triple-barred note stems indicate flutter tonguing. Tricky entries for the tenor are eased with cues above the staff. The style might be described as 20th-century English. Despite chromatic notes, the moderate tempo makes this brief piece quite accessible to intermediate players. Pierre , April Although brief , this fughetta on a pentatonic subject covers a variety of transpositions and appears in inversion and augmentation.
Statements in Db bear some examination before a play-through, but at the suggested tempo, the piece, not withstanding these passages, is feasible for players of intermediate skill. Pierre, sopranos; Janos Ungvary, alto. Pierre , December The title is just an alliterative gimmick — wombats do not waltz! This name however seems to have piqued the curiosity of many YouTube viewers who were perhaps expecting to see some sort of wombat ritual. The piece is a five-part rondo and presents no particular technical difficulties.
It is merely a fanciful, alliterative title. The piece will prove quite straight-forward for an ensemble at the intermediate level. Pierre, alto; Janos Ungvary, tenor. Pierre , June A frequent source of inspiration for this composer is the repertoire he learned as a choirboy. Passages in octaves will require careful attention to tuning and there are some tricky syncopations, but overall an ensemble of moderate skill will find this piece approachable.
The last movement Agnus Dei may be played on the great bass, in which case, a low D is preferred in the final bar. Pierre, altos; Anne Massicotte, tenor; Takayo Shimoda, bass. Pierre , April A flying saucer 2 tenors lands on Earth, a space alien sopranino emerges, looks around, offers a few remarks, but quickly departs. The piece should be performed in a very lively acoustic. Portions marked "lointain" "distant" should be played from, or near, off stage if possible.
A bold wavy line indicates a slow, heavy vibrato, a lighter one, a faster, less intense vibrato. Slide fingers off tone holes to achieve the glissandi. Pierre , December Composed for a Christmas celebration, this lively, highly syncopated gigue featuring the interval of a fourth throughout suggests the joy of the "shepherds abiding in the field. Performing on the accompanying recording are Scott Paterson, soprano; and Anthony St.
Pierre , August One can easily imagine this fanfare in ABA form played on trumpets, as the three high recorders have a similar brilliance. Features include quartal harmonies, parallel triads, and hemiola. Although lively, its technical demands are well within the command of intermediate players.
Duration: Performing on the accompanying recording are the composer, with colleagues, Takayo Shimoda, and Scott Paterson. Pierre , February This gentle five-part rondo is a lullaby that in places, may recall the harmonies of Stravinsky.
If preferred, Bass I may be played on the tenor from the transcription included with the parts. The piece poses little technical difficulty for players of intermediate skill. Pas de douze is a lilting twelve-tone chromatic serial essay; the tone row is bracketed at the beginning. Exploiting the mournful timbre of the low recorders, Cantillation is a lament in which the two instruments take the melodic role by turns. It may recall the Armenian-inspired melodies of Alan Hovhaness.
The wavy line in b. Players of upper intermediate skill will find these duos within reach. Total duration: The composer plays the bass and Scott Paterson the great bass on the accompanying recordings. A trio of intermediate skill will find this score feasible. This variation is a colorful morph in which strains of the original are still much in evidence. An intermediate group may undertake it with confidence. Pierre , August This brief approx.
Each phrase is on the phrygian scale a fifth higher than the previous until the midpoint, where the sequence of transpositions is reversed i. The performer should play very freely, as if improvising. The score appears here for C recorders, but it may be transposed for F instruments if desired. The composer plays on the accompanying recording.
Pierre , March This mournful piece in ABA form was inspired by the work of Alan Hovhaness and composed in observance of Hovhaness' th birthday. Cantillation, the third of three duets for bass and great bass recorders by St. Pierre, also reflects Hovhaness' style and is available on the ARS website. Finger vibrato is indicated by wavy lines. Glissandi are executed by sliding fingers on and off the tone holes.
The piece is recommended for performers of advanced skill. Pierre , February This canon at the fifth features contrasting sections that are variants of the first.
Chromatic passages present some challenges. Pierre , September This brief canon at the ninth approx. Players of upper intermediate skill will find it approachable. Players on the accompanying recording are the composer S and Scott Paterson T. Etude SS by Anthony St. It is more a study "etude" in compositional technique than in instrumental skill development. Apart from some rhythmic complexities, it poses few technical challenges that a player at the upper intermediate level could not match.
Duration: The composer and Scott Paterson perform on the accompanying recording. Pierre , February This largely pentatonic duo in which parallel fifths are prominent recalls the pastoral idiom of Vaughan Williams.
The triple beams over halfnotes indicate a rapid trill or tremolo. There are some rapid, breezy passages to negotiate, but the absence of chromatic notes there facilitate their execution. Duration: Playing on the accompanying recording are Scott Paterson and the composer. Pierre , May Because of its structure P5up, P4down, M3up, M2down, m2up , the six-note theme and its inversion, which generate a series of variations, seems to implode on itself.
Rhythms are tricky in spots and light double tonguing is called for. Duration: Scott Paterson sopranino and the composer alto perform on the accompanying recording.
There are no significant technical complications. The coda ad infin. Scott Paterson and the composer play on the accompanying recording. Lydian Impromptu A by Anthony St. Except for a brief passage in Db Lydian scale , there are no particular technical complications. Duration: The composer performs on the recording offered here. The recorder is a Zen-on alto after Bressan.
Fuga alla moda by Bradford Wright , October This is a jazzy fugue for soprano, alto, tenor, and great bass recorders with bongo drums accompaniment. I have not run across anything like it in the recorder repertoire. It has a lot of accidentals, but is not particularly hard. A courtesy part for great bass in treble clef is included. There is also a performance suggestion that some groups may be able to use or adapt. Mere Bagatelle No. It is one of a series of brief bagatelles for various combinations of recorders.
While not technically challenging, co-ordination of the two parts is tricky when playing at tempo and some slow practice will not go amiss.
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