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Matt Harrison
Matt Harrison

Tenor Subtitles Polish


Part of the sound on these is the classical heel design which is very rare in the ukulele world. Another key feature to Pepe's builds is the hand rubbed French polish finish. This highly skilled finishing method optimizes the vibration of the wood while still protecting it from the elements. Also noteworthy is that Pepe's ukes are the lightest in weight from any that we carry and a real joy to play.




Tenor subtitles Polish



This is certainly a dream uke and it includes a new wooden hardshell tenor case and our final setup work. It's rare to get a Pepe custom. This one is awesome and we give it our highest recommentations.


-Fret Dressing: After adjusting the nut and saddle heights, high spots in the fretboard or uneven frets will potentially cause fret buzz, dead spots, or other unwanted problems. The frets are filed to create a more consistent level across the fretboard. We then crown the frets to return their rounded curvature back to the top of each fret creating a clear contact point for each string. We then smooth and polish the frets and condition the fingerboard to bring them back to new condition.


Under the baton of COT Elizabeth Morse and Genius Music Director Lidiya Yankovskaya, the opera will star tenor Mariusz Godlewski, soprano Iwona Sobotka, and tenor Tyrone Chambers Il. Rounding out the cast are Paul Chwe MinChul An, David Cangelosi and Alissa Anderson.


Specifically, 6 tenor drums. I am used to writing for 6 (4 + 2 Spocks) instead of the default 5 (4 + 1 Spock). However, there is no sound I can use for another spock, but it would be nice to have another one for multiple uses. Example: Also, tenor drum rim shots. While there are for snares, there are none for tenors. Every once and a while I find myself using these for drum features, but I never seem to use the mute feature.


There are rim clicks (tenor) and rim knocks (bass) for the said instrument, but not rim SHOTS like the snare has. I'm looking for that "GAT!" sound like the snare, being it has rim shots, and rim clicks.


Is this not a tenor drum rim shot? There are similar sounds for each of the other staff spaces. They are labelled "Drum4 Rim", "Drum3 Rim", "Drum2 Rim", Drum1 Rim", and "Spock Rim", adn they both look and playback as I would expect. Am I missing something?


Thanks for checking on that second spock. Means a lotNot necessarily unusual, I've heard it used a lot in DCI music, and my school's drumline uses rim shots on tenor multiple times for each feature. It is probably more in the lesser used category than the unusual...


So the second spock is a minor third above the 1st which is consistent with the Youtube clip you posted. From which, incidentally, I have been able to extract a couple of tenor rimshot samples, so if pitch shifting is successful you may have tenor rimshots soon.


Incidentally, I like that sound better than just the half step. I'm used to tenors being 6 6 8 10 12 13, so I'm used to having to tune them closer. However, most sets are 6 8 10 12 13 14, so it'll sound better to have the minor third.Tenor Shots sound awesome! Cannot wait for those if you can get them!


I was wondering if (sorry I'm giving a bit of a workload) you could get the snare click sound for the tenor samples, so I could interchangeably use both snare and tenor clicks. Is there a way to perhaps, transfer the sound to work on the pitch in tenors?


A rim shot, in case you weren't sure, is where you hit both the rim and the drum at the same time with the same stick. Rimshots on tenors are actually really common, especially on the spocks and lower drums. There's also a type of rimshot called a "skank," called such because of the sound it makes; it's where you hit a rim shot on one of the lowest two drums, closer to the rim than usual, and immediately muffle it so it produces a short and sharp sound. It would be nice to see sounds for skanks as well if possible c:


Chicago Opera Theater, Chicago's foremost producer of contemporary and re-imagined opera, kicks off its 2022/23 season with the Chicago Premiere of the grand King Roger, by composer Karol Szymanowski and his cousin, librettist Jarosław Iwaszkiewicz, the first Polish language opera presented in the company's history.King Roger, or Król Roger in Polish, will be presented in a semi-staged production featuring a massive chorus of 120 singers and a 72 piece orchestra at the Harris Theater for Music and Dance 205 E Randolph St, in two performances only; Friday, November 18 at 7:30 PM and Sunday, November 20, at 3:00 PM.Single tickets are now on sale and range in price from $25 - $165 with discounts available for groups, students, and subscribers. The production is 90 minutes and is presented in Polish with English subtitles. To buy tickets, visit chicagooperatheater.org.Mirroring a mystical and epic storyline, the music of King Roger is lush, sweepingly Romantic, and calls for massive forces. The colossal chorus for this production will be made up of a trifecta of Chicago singing organizations. For the first time, COT will partner with Chicago's premiere Polish music and dance organization- the Lira Ensemble whose singers will be represented in the chorus. Apollo Chorus, one of Chicago's top volunteer choral societies, returns to the COT stage joining the chorus of King Roger and a chorus of children comes from Uniting Voices Chicago- the organization formerly known as Chicago Children's Choir.


Das Lied von der Erde ("The Song of the Earth") is an orchestral song cycle for two voices and orchestra written by Gustav Mahler between 1908 and 1909. Described as a symphony when published, it comprises six songs for two singers who alternate movements. Mahler specified that the two singers should be a tenor and an alto, or else a tenor and a baritone if an alto is not available.[1] Mahler composed this work following the most painful period in his life, and the songs address themes such as those of living, parting and salvation. On the centenary of Mahler's birth, the composer and prominent Mahler conductor Leonard Bernstein described Das Lied von der Erde as Mahler's "greatest symphony".[2] As with his later Symphony No. 9, Mahler did not live to hear Das Lied von der Erde performed.


Only in the first, fourth and sixth songs does the full orchestra play together. The celesta is only heard at the end of the finale, and only the first movement requires all three trumpets, with two playing in the fourth movement and none playing in the sixth. In many places the texture resembles chamber music, with only a few instruments being used at one time.[citation needed] The score calls for tenor and alto soloists.[1] However, Mahler includes the note that "if necessary, the alto part may be sung by a baritone".[10] Mahler also arranged the work for piano accompaniment.[11]


Like many drinking poems by Li Bai, the original poem "Bei Ge Xing" (a pathetic song) (Chinese: 悲歌行) mixes drunken exaltation with a deep sadness. The singer's part is notoriously demanding, since the tenor has to struggle at the top of his range against the power of the full orchestra. This gives the voice its shrill, piercing quality, and is consistent with Mahler's practice of pushing instruments, including vocal cords, to their limits. According to musicologist Theodor W. Adorno, the tenor should here create the impression of a "denatured voice in the Chinese (falsetto) style".[12][13]


The second scherzo of the work is provided by the fifth movement, "The drunken man in Spring" (for tenor, in A major). Like the first, it opens with a horn theme. In this movement Mahler uses an extensive variety of key signatures, which can change as often as every few measures. The middle section features a solo violin and solo flute, which represent the bird the singer describes.


For the first few decades after the work's premiere, the option to perform it with two male soloists was little used. On one occasion, Bruno Walter tried it out and engaged Friedrich Weidemann, the baritone who had premiered Kindertotenlieder under Mahler's own baton in 1905. However, Walter felt that tenor and baritone did not work as well as tenor and alto, and he never repeated the experiment.[10] Following the pioneering recordings of the work by baritone Dietrich Fischer-Dieskau under conductors Paul Kletzki and Leonard Bernstein, the use of baritones in this work has increased.[citation needed]


It is the tenor aria that brings the consolation, in text as well as in music. On this recording this exquisite piece of chamber music is beautifully performed by Johannes Kaleschke, tenor, and Meike Güldenhaupt and Gilles Vanssons, oboes.


5 August FREE SCREENING in Cathedral Square: Walnut bread (Riešutų duona) Lithuania, 1977. Memories of childhood and first love in this lyrical love story set in small-town Lithuania. Lithuania with English subtitles.


7 August A rainy day in New York (Lietinga diena Niujorke) USA, 2019. Unexpected adventures await two out-of-towners on a weekend in New York in the latest film from American master of cinema, Woody Allen. English with Lithuanian subtitles.


8 August Bohemian Rhapsody (Bohemijos rapsodija) USA, 2018. Oscar-winning biopic tracing the story of legendary rock band Queen and superstar frontman Freddy Mercury. English with Lithuanian subtitles.


12 August Summer survivors (Išgyventi vasarą) Lithuania, 2018. Friendship blossoms between an ambitious young psychologist and two patients en route to a seaside psychiatric unit in this powerful, bittersweet road movie. Lithuanian with English subtitles.


15 August Modern times (Modernūs laikai) USA, 1936. Hollywood icon Charlie Chaplin stars as The Tramp, struggling to live in the modern world with the help of a young homeless woman. English with Lithuanian subtitles. 041b061a72


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