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My goal is to implement teacher plan for all ages. This book is about five days before Christmas in Colorado Springs. Everyone was shopping for Christmas except poor old Mrs. Mary, who had six children but with no husband and no job. Mary had given them odd names that reminded her of Christmas because they were all born in December. Marys only concern was about her children and their gifts.
Position Pieces for Cello is designed to give students a logical and fun way to learn their way around the fingerboard. Each hand position is introduced with exercises called "Target Practice," "Geography Quiz," and "Names and Numbers." Following these exercises are tuneful cello duets which have been specifically composed to require students to play in that hand position. In this way, students gain a thorough knowledge of how to find the hand positions and, once there, which notes are possible to play. Using these pieces (with names like "I Was a Teenage Monster," "The Irish Tenor," and "I've Got the Blues, Baby"), position study on the cello has never been so much fun!
Flexible and easy to teach, The Bells of Glocken is approximately 20 minutes long and is an inspired choice for children's choirs, Christian schools or Sunday schools-also great as a multi-generation program for the entire congregation! With very simple narration and dialog, it features speaking and non-speaking roles for 7-10 people, though directors are encouraged to add dialog and characters as necessary. Glocken" is the German word for "bells." Four bell sounds represent the seasonal themes of hope, peace, love and joy. This pattern may be played by handbells, choir chimes, organ chimes or pitched percussion instruments, though keyboard alone is sufficient. The Director's Score includes fully supportive keyboard accompaniment, costuming, prop and staging suggestions, dialog, vocals and a reprintable audience/congregation program. The Singer's Edition features vocals, narration and dialog. Fully orchestrated recordings are available separately."
Bobbing alongside Margery Kempe—an illiterate medieval mystic who dictated the first autobiography in English—the ragged voice of Cry Baby Mystic finds itself drawn into strange predicaments that are not its own and ferried into abandoned spaces by the gearing of stardom and shame. The revolving sentences overheard by the reader--a muffled chorus of Brechtian aftershocks--survive only as traces of sorrow now craved by all who have known it: sound gossiping the unsound, the excess of the pilgrim. A person climbs out and never comes home.