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Musicwear: Acoustic-Style Shoulder Bag With Built In Rechargable Speaker (Black)

A fantastic design for all Guitar fans. The 'sound-hole' of the Guitar is actually a powerful little speaker. You simply plug in your MP3 player, CD player or any audio device with a standard headphone output, and listen on the go.This shoulder bag can carry all your musical accessories, and has an internal pocket for spare strings and a capo. Can be charged with the supplied UK mains plug or via USB.

Judith Weir: Concrete - A Motet About London (Vocal Score)

For speaker, mixed chorus and orchestra.

Eufrides vor den Toren Thymens - Berg, Josef

Opera in 3 acts score voice/speaker/Trp/tape

Hörtheater 3: Hinter dem Spiegel - Motte, Diether de la

Scene for singing and speaking Voices singing score voices/speaker Hæftet udgave

Elisabeth Lutyens: The Singing Birds Op.151

For Speaker (Actress) and Viola.Published in 1980.Text by Yeats, Plato, Mary Silverthorne.Score.

Hörtheater 1: Schwierigkeiten beim Telefonieren - Motte, Diether de la

Scene for speaking Voices and Melodic Instruments score speaker/5Instr-Mel Hæftet udgave

Kleine Passionsmusik - Dietrich, Fritz

score TSolo/speaker/female choir: SA/recorder-A/recorder-T/Str Hæftet udgave

Philip Venables: Fuck Forever

3 playing scores for Cello, Piano, Male Singer or Speaker, and Woodblock.Philip Venables: Fuck Forever

Donald Swann: Requiem For The Living Vocal Score

For speaker, mezzo soprano or baritone solo, mixed chorus, percussion and cimbalom. Words by Cecil Day Lewis.

John Tavener: In The Month Of Athyr

A work for speaker and unaccompanied SATB choir, using words from In The Month Of Athyr by the celebrated Greek poet C.P. Cavafy. Commissioned by the Tallis Scholars to celebrate their 25th Anniversary, and was first performed in November 1998 by the Tallis Scholars with Sting (speaker), conducted by Peter Phillips.

Trillat Quelle Histoire 3 Clarinets & Speaker Performance Scores

Elizabeth W. Greenleaf: A Bird's-Eye View

Contents include: Crow Talk; Asleep in the Nest; March of the Penguins; A Feather in the Breeze; The Mournful Worm; The Silly Sandpiper; Songbird Chorus; Struttin? Turkey Blues; Cat Attack!; The Chicken Pecks for Dinner.

Hawley, S Lenore Recitation Piece No.14 Speaker And Piano

Meschwitz Der Springende Punkt Matthaus 1: Verse 16 Speaker (G)

Peter Maxwell Davies: Fool's Fanfare (Score)

A work for speaker and chamber ensemble commissioned by the Globe Playhouse Trust Ltd., and was first performed at the Globe Playhouse in April 1972 by Ron Moody and the London Sinfonietta conducted by the composer. The ukulele can be doubled by a mandolin. Duration c. 7mins.

Giles Swayne: Alleluia! For SSA

Alleluia ! is a Christmas sequence for speaker, female or boy's voices, harp, piano and percussion. The first performances were given on 14 and 15 December 1976 at St Paul Girls' School. Vocal score with piano part. Parts for harp, piano, and percussion (3 players) are available on hire. Duration c. 17 mins

Tony Moscal: Sound Check - The Basics Of Sound And Sound Systems

Sound Check is a simplified guide to what can be a tricky subject: an easy-to-understand explanation of the principles and physics of sound. Sound Check goes on to cover amplifiers, speaker hookup, matching speakers with amps, sound reinforcement, mixers, monitor systems, grounding and more. Includes many diagrams, lots of illustrations and a glossary of terms for audio made easy!

Benjamin Britten: The World Of The Spirit (Vocal Score)

The first performance of this concert version was given on 27th June 1998 in the Snape Maltings Concert Hall as part of the Aldeburgh Festival, by Janice Watson (Soprano), Catherine Wyn-Rogers (Mezzo-Soprano), Timothy Robinson (Tenor), Neal Davies (Baritone), and David Evans (Speaker), with the Joyful Company of Singers and the City of London Sinfonia, conducted by Steuart Bedford.

Totentanz : Motet no. 2 from Geistliche Chormusik op. 12

Totentanz Op.12/2Motet No.2 from 'Geistliche Chormusik' Op.12 for Speaker, Mixed choir (SATB), Flute ad lib.Hugo Distler, born on the 24th June 1908 in Nuremberg and died on the 1stNovember 1942 in Berlin, was a German Organist, choral conductor, teacher and composer. He studied at the Leipzig Conservatory moving to Berlin in 1940 where he became Director of the Berlin National and Cathedral Choir.-Separate Flute part available for sale (BA752-20)

James Whibourn: The Wounds (Vocal Score)

The Wounds was expertly composed by British composer James Whitbourn, for SATB chorus, Speaker, Violin, Cello, and Organ. This selection includes the full Vocal score. James international reputation as a composer began very early on as a programme maker at the BBC.?The Wounds is intended as a devotional work and is best heard in the context of a liturgical event in - or close to - Passiontide. Each section continues from the previous one without pause to create a seamless whole.? James Whitbourn

Benjamin Britten: The World Of The Spirit

Britten's The World of the Spirit was written for BBC Radio in 1938, his second collaboration with R. Ellis Roberts. The wide-ranging texts from religious books, poetry, and newspaper articles about the First World War and Irish 'Troubles' are complemented by a rich variety of musical styles from the prodigious composer.The first performance of this concert version was given on 27th June 1998 in the Snape Maltings Concert Hall as part of the Aldeburgh Festival, by Janice Watson (Soprano), Catherine Wyn-Rogers (Mezzo-Soprano), Timothy Robinson (Tenor), Neal Davies (Baritone), and David Evans (Speaker), with the Joyful Company of Singers and the City of London Sinfonia, conducted by Steuart Bedford.

Dankworth: Suite For Emma for Clarinet and Piano

Suite for Emma is written in four movements – Valse, the haunting Pavane, Ballade and the Scherzo finale – and calls upon the entire range of the clarinet as well as demanding a very high level of musicianship in the Piano. Although written for Emma Johnson’s clarinet, the Suite is a partnership between the instruments.John Dankworth was a towering figure in British jazz almost from the earliest years of his career as a jazz composer, Saxophonist and clarinetist, and as an educator and speaker until his death in 2010. This piece was written for Emma Johnson, the 1984 Young Musician of the Year. She has since recorded it.

Thinking I Hear Thee Call

Thinking I Hear Thee Call by Cheryl Frances-Hoad is inspired by the life of Florence Attridge, an Essex woman who, whilst working at the Marconi factory in Chelmsford during WWII, helped to make secret radio sets for spies. In this piece for soprano, speaker and electronics, we hear Florence recount her experiences, whilst, in another, secret location, in another time, a spy goes through the radio's (complicated!) set up instructions one last time before going on their first reconnaissance mission. The electronic element takes sounds that are associated with Florence's life and the history of Marconi, including morse code and "Absent", the first song to be broadcast from the factory. The text for Florence's part was written by Frances M Lynch based on research by Patricia Fara, and the speakers text comes from the official manual for the British Type 3 Mark II Spy Radio. Watch the video The performers from electric voice theater are:- Frances M Lynch - Soprano (Florence Attridge) Margaret Cameron - Speaker (Spy). The performers recorded their parts individually in their homes and the final work was combined with the composer's electronic track and produced by Frances M Lynch & Herbie Clarke at Birnam Studios, London. The work was commissioned by electric voice theater and first performed online during the Covid-19 Pandemic, Aug 24th 2020 as part of the 'Echoes from Essex'. The project was supported by the Arts Council Emergency Response Fund (National Lottery).

Heroes Near and Far

Each of the five movements of this innovative work is designed to invoke a particular type of emotion associated with leadership. Courage is stately in nature and played in a marcato style. Vision has a playful sense and focuses on mixed meters aswell as mixed emotions. The lyric and sensitive Compassion is meant to stir the soul, while the contrasting Selflessness offers some of the most intense and demanding music of the set. The energetic final movement, Heroes, will bring to mind your ownfavorite superhero! Educator and speaker Scott Lang helped develop the concept for this unique work, and has made available supplemental curricula centered around leadership and character development. This material is tied to the Common CoreStandards relating to reading, writing, music, art, and critical thinking. Each movement and accompanying curriculum can stand on its own, allowing the director the flexibility of using as much or as little as desired. A tremendous resource fortodays teacher! Dur: 9:20

Shady Groove : and other Songs from the Appalachian Mountains

This set of short pieces for piano solo is based on folksongs from the Appalachian Mountains. This music originated in the British Isles as unaccompanied ballads. The tunes were brought to the United States. As time passed, instruments were added zither, banjo and, eventually, guitar. The guitar versions have become well-known “standards” of the American folk repertoire. Common traits of these songs are the modal/diatonic harmonies. The “refinement” of European chromaticism is absent. Rootposition chords and consonant sonorities are prevalent. A special challenge in creating piano arrangements has been to inject occasional “appropriate” dissonances to enliven the harmonies. In addition, the strophic, ballad style of the songs, whichrelies upon storytelling to maintain the dramatic interest, must now be replaced by musical variation and development. The intent has been to create new piano repertoire within the “folk spirit” rough hewn, straightforward, energetic and beautiful.Shady Grove is a popular 18th-century American folksong with many versions of the lyrics. The title may refer to a beloved woman, or to a place where the speaker is traveling. [“Going to Shade Grove...”] However, the energetic music itself iswell-defined, and memorable. This new interpretation for piano includes a slowly-unfolding introduction before the arrival of the theme, and a contrasting, ascending interlude section. The third verse is presented in a slow, rhapsodic manner, toallow time for reflection. The lively theme then returns, ending with strumming the strings inside the piano, in Appalachian zither-playing style.