Timothy McAllister Video
ingegnere, ingegnere del suono, sassofonista
- sassofono
- musica classica
- Stati Uniti d'America
reti sociali
Ultimo aggiornamento
2024-05-04
Aggiorna
James Weldon Johnson Weldon McAllister Clay
'God's Trombone' animated version of "The Creation" (with additional ending) - JA Williams, Producer/Director Raking Leaves Productions (http•••) Michael McAllister - Adam Imani Gist-Cook - Eve Song "Rendezvous with Rama, by Stellardrone (http•••) Song "You Are" by, Pat Metheny (http•••) The Creation(poem), by James Weldon Johnson And God stepped out on space, And he looked around and said: I'm lonely— I'll make me a world. And far as the eye of God could see Darkness covered everything, Blacker than a hundred midnights Down in a cypress swamp. Then God smiled, And the light broke, And the darkness rolled up on one side, And the light stood shining on the other, And God said: That's good! Then God reached out and took the light in his hands, And God rolled the light around in his hands Until he made the sun; And he set that sun a-blazing in the heavens. And the light that was left from making the sun God gathered it up in a shining ball And flung it against the darkness, Spangling the night with the moon and stars. Then down between The darkness and the light He hurled the world; And God said: That's good! Then God himself stepped down— And the sun was on his right hand, And the moon was on his left; The stars were clustered about his head, And the earth was under his feet. And God walked, and where he trod His footsteps hollowed the valleys out And bulged the mountains up. Then he stopped and looked and saw That the earth was hot and barren. So God stepped over to the edge of the world And he spat out the seven seas— He batted his eyes, and the lightnings flashed— He clapped his hands, and the thunders rolled— And the waters above the earth came down, The cooling waters came down. Then the green grass sprouted, And the little red flowers blossomed, The pine tree pointed his finger to the sky, And the oak spread out his arms, The lakes cuddled down in the hollows of the ground, And the rivers ran down to the sea; And God smiled again, And the rainbow appeared, And curled itself around his shoulder. Then God raised his arm and he waved his hand Over the sea and over the land, And he said: Bring forth! Bring forth! And quicker than God could drop his hand, Fishes and fowls And beasts and birds Swam the rivers and the seas, Roamed the forests and the woods, And split the air with their wings. And God said: That's good! Then God walked around, And God looked around On all that he had made. He looked at his sun, And he looked at his moon, And he looked at his little stars; He looked on his world With all its living things, And God said: I'm lonely still. Then God sat down— On the side of a hill where he could think; By a deep, wide river he sat down; With his head in his hands, God thought and thought, Till he thought: I'll make me a man! Up from the bed of the river God scooped the clay; And by the bank of the river He kneeled him down; And there the great God Almighty Who lit the sun and fixed it in the sky, Who flung the stars to the most far corner of the night, Who rounded the earth in the middle of his hand; This great God, Like a mammy bending over her baby, Kneeled down in the dust Toiling over a lump of clay Till he shaped it in is his own image; Then into it he blew the breath of life, And man became a living soul. Amen. Amen.
Adolf Lotter McAllister 1918 1936 1942 1971 2019
“Three Days, Fantasia-Overture” by Adolf Lotter +••.••(...)). Performed by the Heart of Texas Concert Band for the “Symphonic Classics” concert held November 24, 2019 at McAllister Auditorium, San Antonio College. Conducted by R. Mark Rogers. Lotter was a Czech composer and double-bass player who spent most of his adult career living in London, where he was employed as a composer and music editor for Boosey & Hawkes. His “Three Days” was published for orchestra in 1918 during the heyday of silent motion pictures, and appeared in a band arrangement in 1936. It is cast is seven sections, the fourth of which (3:30) is the source music for the “Fight, Raiders, Fight”, the fight song used at Texas Tech University in Lubbock, Texas. This remastered video is made possible in part with funding from Humanities Texas and the National Endowment for the Humanities (NEH) as part of the federal ARP Act. All opinions, findings, conclusions, or recommendations expressed in this video do not necessarily represent those of the National Endowment for the Humanities. Licensed by Association of Concert Bands, ASCAP, BMI HTxCB.org 4128 Warm Winds San Antonio, TX 78253
Adolf Lotter McAllister Wiley Burden 1918 1936 1937 1942 1959 1971 1972 1973 1974 2019
“Three Days, Fantasia-Overture” by Adolf Lotter +••.••(...)). Performed by the Heart of Texas Concert Band for the “Symphonic Classics” concert held November 24, 2019 at McAllister Auditorium, San Antonio College. Conducted by R. Mark Rogers. This remastered video is made possible in part with funding from Humanities Texas and the National Endowment for the Humanities (NEH) as part of the federal ARP Act. All opinions, findings, conclusions, or recommendations expressed in this video do not necessarily represent those of the National Endowment for the Humanities. Lotter was a Czech composer and double-bass player who spent most of his adult career living in London, where he was employed as a composer and music editor for Boosey & Hawkes. His “Three Days” was published for orchestra in 1918 during the heyday of silent motion pictures, and appeared in a band arrangement in 1936. It is cast is seven sections, the fourth of which (3:30) is the source music for the “Fight, Raiders, Fight”, the fight song used at Texas Tech University in Lubbock, Texas. A SHORT HISTORY OF “FIGHT RAIDERS, FIGHT!” by R. Mark Rogers Legend has it that the band at Texas Technological College (as TTU was known in those days) was rehearsing “Three Days, Fantasia-Overture" in 1937 under the direction of D. O. Wiley, and several members of the band noted that the catchy tune in the middle of “Three Days” might serve well as a fight song for the college. It is not known to this writer if Texas Tech at that time had no fight song or whether the fight song in use at that time had been borrowed from some other college. Words were written and the tune quickly found acceptance among the student body. The middle section of “Three Days” is in the key of D-flat (this is important for the latter part of the discussion), and features a syncopated rhythm (2/4 time: eighth-quarter-eighth-half) in the first phrase: Fight RAID-ers Fight, with emphasis and additional length given to the syllable “Raid.” Dean Killion arrived at Texas Tech in 1959, and sometime during the early part of his tenure, the rhythm was changed: the syncopation was eliminated (new rhythm in 2/4 time: quarter-2 eighths-half, sounding FIGHT Raid-ers FIGHT) to allow the piece to be played at a somewhat quicker pace; the rhythm was NOT changed in the parts, but was handed down to entering freshmen by upper level band members. [Also during the 60s the name of the institution was changed to Texas TECH UNIVERSITY - those of us who lived nearby will recall our parents’ difficulty, as they continued to refer to the the street that bordered Tech the on east as “College Avenue” instead of “University Avenue”.] In 1972 when this writer arrived as a freshman at Texas Tech University, the band was still playing the fight song in D-flat. During the mid-70s (perhaps 1973 or 1974), Killion wanted to raise the key from D-flat to E-flat which would somewhat brighten the sound of the piece (and reduce the burden on less skilled members of the band who didn’t like five flats in the key signature), so he asked John Tatgenhorst, the band’s main arranger at that time, to transpose the piece a tone higher and create a new arrangement. The raise to E-flat made the counter-melody in the trombones and euphoniums too high for secure performance, so Tatgenhorst wrote a different counter-melody; and the change of rhythm in the first phrase was written into the parts at that time. The next season, Killion asked Tatgenhorst to write a fanfare-like introduction to the piece, to be used in the traditional pre-game show and in other settings. At this time, the introduction and the fight song itself were on two separate pieces of paper. This being found to be inconvenient, Rogers (the author of this reminiscence) recopied the parts to put the introduction and fight song on the same sheet. It is very possible (perhaps certain) that the parts used by the Texas Tech band to this day are these same hand-written parts from the mid 70s. Licensed by the Association of Concert Bands, ASCAP, BMI HTxCB.org 4128 Warm Winds San Antonio, TX 78253
Jitters, a superstitious black cat, seeks the help of a fortune teller. This only makes things worse... A short film by 13 animation students at Sheridan College! Production Managers: Michelle Lepine & Sora Yi (@baumbchell & @artelier_laya) Design Supervisors: Henry He & Max Jayzeh (@he.sketch & @maxjayzeh) Animation Supervisors: Dennis Kim, Alia Metke & Sieun Lee (@denniskim.dk , @aliarose.art & @sieunleeart) Layout Supervisors: Alex Cote & Allyssa Clemente (@hagunatoons & @ysa.clemtea) Story Supervisors: Delaram Majdzadeh & Larrisa Rozsi-Sudek (@deloomo & @larislop) Sound Supervisor: Jill Pinkney (@caterjiller) Compositing Supervisor: Sean McAllister (@seanatar) Original Score: William "Dim Widdy" Collins (@Dim_Widdy)
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