Three Corpus Christi-area high schools cracked the top 10 in this year's University Interscholastic League Lone Star Cup, which honors schools for achievements in academics, athletics and music competitions.
Performance Guide: This etude provides the opportunity to display tone, phrasing, dynamics, and overall musicality. Count in 6 beats per measure (eighth note gets the beat) to aid in rhythmic accuracy and control of the tempo. Create as much dynamic contrast as possible throughout. Good air support is key so always take full, low breaths. With each breath, strive to expand the stomach and lower back. As you blow, stay expanded and keep focusing the support low by pushing down and out against your abdominal muscles and lower back. For the second turn in m. 26, use the 2nd RH side key to play the upper note D and return to the standard fingering for the D 64th note. One way to interpret the phrases marked inquieto (m. 9) and incalzando (m. 13) is to play each phrase with a crescendo and with a slight acceleration into the 32nd notes. Lean into the accented notes with your air to aid in making the crescendo. In m. 18 be sure to rearticulate the second E in beat three. The trill in m. 25 should be played by fingering the B-flat and trilling with the top 2 RH side keys. Measure 37 is a cadenza so play this with a sense of freedom to create musical interest. Re-establish tempo for the repeated C quarter notes in the second to last measure and try to imitate the sound of a large bell that decays on each note as you die away to the end.
Presto 11 Full Crack 63
Performance Guide: Although this etude is in the key of c-minor, there are numerous accidentals throughout. Accidentals and neighbor tones are used to create tension and release. Lean in to the notes outside of the key to help propel the musical line.Throughout this etude, there are two musical ideas going on at the same time. The lower, articulated notes outline the harmonic and sometimes musical line. Therefore, bring out these notes to highlight the harmonic progressions. While these notes most of time have staccatissimo accents on them, you should think of these more as an emphasis rather than playing these notes overly short. They should have emphasis, but feel round and full in tone. In practicing this etude, separate the two lines. Play only the articulated notes first so that you understand the musical and harmonic line. Then, play only the slurred notes. These notes should have their own musical shape, as indicated by the hairpin crescendos and descrescendos. The staccato downward thirds at the ends of phrases should be lifted and bouncy. Focus more on using the air to create the staccato rather than stopping each note with your tongue.
Performance Guide: This etude provides an opportunity to show musical depth and expression, as well as a good sense of rhythm. Carefully differenciate between thirty-second notes and sixteenth notes. Rubato is recommended, when appropriate, and should be used to shape the phrases. However, due to the rhythmic intricacies of the etude, practice with the metronome before adding any variation in tempo. Always play the lowest notes when given a choice, such as in mm. 27 and 30. Make sure all notes are sustained to their full value and that staccato notes are tapered and not chopped. Do not shorten the accented notes in mm. 3 and 17. Play with a pesante (long and heavy) articulation for the accented notes under the slur leading into the high A-natural in m. 10.
'The Bartók Solo Violin Sonata is a great bonus and beautifully played, but these landmark performances of the Martinů concertos are the headline items and both are unquestionably outstanding.'
'This exciting and full-blooded account has more historic coherence than any so far of this great opera. György Vashegyi, who already has three Rameau opera recordings to his name, has mustered a uniformly strong cast with lively characterisation from Antenor and Teucer, alpha males pumped to the hilt with testosterone.'
'Even on a modern concert grand, with its built-in capacity for maximum brilliance, Benjamin Grosvenor conjures a brand of full and rounded keyboard sonority different from that of many of his contemporaries, and recalls the giants of an earlier generation (Busoni, for instance, or Josef Lhévinne).'
Line a 11- by 15-inch cookie sheet with graham crackers. There will be a little bit of space left at the end of the pan. That space will later be filled with runaway caramel, which you can peel off and eat in privacy. Or is that just me?
While the graham crackers are baking, put 4 mini candy canes in a small resealable plastic bag and smash with a mallet or rolling pin. Get out all of that aggression so you can avoid the holiday road rage later. Your family will thank you.
Oh my gosh, someone else calls these cookies Crack? Too funny! Yep these are crowd favorites. We prefer the graham cracker base. I line the pan with parchment paper or tin foil to make getting them out easier. But even with that I find they pull off easier if I put them in the frig or even 10 min in the freezer. One topping I experimented with last year was a sprinkle of sea salt. I got fancy pink sea salt for them this year. YUM!
Unperturbed, UChicago once again took up the offensive, but it became increasingly difficult to crack the NYU defense as a pair of holding midfielders entrenched themselves in front of the Violet back four while wingers tracked further and further back to break up Maroon passes. 2ff7e9595c
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