War of the Worlds by H.G. Wells 1:7 Free Classic Novels Audiobooks Public Domain Books.
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war of the worlds by h.g wells book 1 chapter 7 how i reached home

for my own part i remember nothing of my flight except the stress of blundering against trees and stumbling through the heather all about me gathered the invisible terrors of the martians that pitiless sword of heat seemed whirling to and fro flourishing overhead before it descended and smote me out of life i came into the road between the crossroads and horsele and ran along this to the crossroads at last i could go no further i was exhausted with the violence of my emotion and of my flight and i staggered and fell by the wayside that was near the bridge that crosses the canal by the gas works i fell and lay still i must have remained there for some time i sat up strangely perplexed for a moment perhaps i could not clearly understand how i came there my terror had fallen from me like a garment my hat had gone and my collar had burst away from its fastener a few minutes before there had only been three real things before me the immensity of the night and space and nature my own feebleness and anguish and the near approach of death now it was as if something turned over and the point of view altered abruptly there was no sensible transition from one state of mind to the other i was immediately the self of every day again a decent ordinary citizen the silent common the imports of my flight the starting flames were as if they had been in a dream i asked myself had these latter things indeed happened i could not credit it i rose and walked unsteadily up the steep incline of the bridge my mind was blank wonder my muscles and nerves seem drained of their strength i dare say i staggered drunkenly a head rose over the arch and the figure of a workman carrying a basket appeared beside him ran a little boy he passed me wishing me good night i was minded to speak to him but not i answered his greeting with a meaningless mumble and went over the bridge over the mabry arch a train a billowing tumult of white violet smoke and a long caterpillar of lighted windows went flying south clutter clutter clap rap and it had gone a dim group of people talked in the gate of one of the houses in the pretty little row of gables that was called oriental terrace it was also real and so familiar and that behind me it was frantic fantastic such things i told myself could not be perhaps i am a man of exceptional moods i do not know how far my experience is common at times i suffer from the strangest sense of detachment from myself and the world about me i seem to watch it all from the outside from somewhere inconceivably remote out of time out of space out of the stress and tragedy of it all this feeling was very strong upon me that night here was another side of my dream but the trouble was the blank incongruity of this serenity and the swift death flying yonder not two miles away there was a noise of business from the gas works and the electric lamps were all alight i stopped at the group of people what news from the commons said i there were two men and a woman at the gate hey said one of the men turning what news from the common i said ain't you just been there asked the men people seem fair silly about the common said the woman over the gate what's it all about haven't you heard of the men from mars said i the creatures from mars quiet enough said the woman over the gate thanks and all three of them laughed i felt foolish and angry i tried and found i could not tell them what i had seen they laughed again at my broken sentences you'll hear more yet i said and went on to my home i started my wife at the doorway so haggard was i i went into the dining room sat down drank some wine and as soon as i could collect myself sufficiently i...

War of the Worlds by H.G. Wells 1:6 Free Classic Novels Audiobooks Public Domain

War of the Worlds by H.G. Wells 1:5 Free Classic Novels Audiobooks Public Domain Fiction.

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war of the worlds by h.g wells book 1 chapter 5 the heat ray

after the glimpse i had had of the martians emerging from the cylinder in which they had come to the earth from their planet a kind of fascination paralyzed my actions i remained standing knee deep in the heather staring at the mound that hit them i was a battleground of fear and curiosity i did not dare to go back towards the pit but i felt a passionate longing to peer into it i began walking therefore in a big curve seeking some point of vantage and continually looking at the sand heaps that hit these newcomers to our earth once a leash of thin black whips like the arms of an octopus flashed across the sunset and was immediately withdrawn and afterwards a thin rod rose joint by joint bearing at its apex a circular disc that spun with a wobbling motion what could be going on there most of the spectators had gathered in one or two groups one a little crowd towards woking and the other are not a people in the direction of cobham evidently they shared my mental conflict there were few near me one man i approached he was i perceived a neighbor of mine though i did not know his name and accosted him but it was scarcely a time for articulate conversation what ugly brutes he said good god what ugly brutes he repeated this over and over again did you see the man in the pit i said but he made no answer to that we became silent and stood watching for a time side by side deriving i fancy a certain comfort in one another's company then i shifted my position to a little knoll that gave me an advantage of a yard or more of elevation and when i looked for him presently he was walking towards woking the sunset faded to twilight before anything further happened the crowd far away on the left towards woking seemed to grow and i heard now a faint murmur from it the little knot of people towards cobham dispersed there was scarcely an intimation of movement from the pit it was this as much as anything that gave people courage and i suppose the new arrivals from woking also helped to restore confidence at any rate as the dust came on a slow intermittent movement from the sandpits began a movement that seemed to gather force as the stillness of the evening about the cylinder remained unbroken vertical black figures in twos and threes would advance stop watch and advance again spreading out as they did so in a thin irregular crescent that promised to enclose the pit in its attendant horns i too on my side began to move towards the pit then i saw some cadmen and others had walked boldly into the sand pits and heard the clatter of hooves and the grind of wheels i saw a lad trundling off the barrel of apples and then within 30 yards of the pit advancing from the direction of horsel i noted a little black knot of men the foremost of whom was waving a white flag this was the deputation there had been a hasty consultation and since the martians were evidently in spite of their repulsive forms intelligent creatures it had been resolved to show them by approaching them with signals that we too were intelligent flutter flutter went the flag first the right then to the left it was too far for me to recognize anyone there but afterwards i learned that ogilvy stent and henderson were with others in this attempt at communication this little group had in its advance dragged inward so to speak the circumference of the now almost complete circle of people and the number of dim black figures followed at a discrete distance suddenly there was a flash of light and a quantity of luminous greenish smoke came out of the pit in three distinct puffs which drove up one after the other straight into the still air this smoke or flame perhaps would be...

American Indian Fairy Tales by William Trowbridge Larned 5 Boy Who Snared the Sun Free Audiobook.

this is the librevox recording all librivox recordings are in the public domain for more information and to find out how you can volunteer please visit librivox.org recorded by chip in tampa florida on january eighteenth two thousand six american indian fairy tales collected by henry r schoolcraft and retold by w t learned the boy who snared the sun

a deep crusted snow covered the earth and sparkled in the light of a wintry moon the wind had died away it was very cold and still not a sound came from the forest the only noise that broke the perfect quiet of the night was the cracking of the ice on the big sea water gichigumi which was now frozen solid but inside old iagoo's teepee it was warm and cheerful the teepee as the indians call a tent was covered with the thick tough skin of the buffalo the winter coat of muqua the bear had now become a pleasant soft rug for iagoo's two young visitors morning glory and her little brother eagle feather squatting at their ease on the warm fur they waited for the old man to speak suddenly a white-footed mouse crept from his nest in a corner and advancing close to the children set up on his hind legs like a dog that begs for a biscuit eagle feather raised his hand in a threatening way but morning glory caught him by the arm no no she said you must not harm him see how friendly he is and not a bit afraid there is game enough in the forest for a brave boy's bow and arrow why should he spend his strength on a weak little mouse eagle feather pleased with anything that seemed like praise of his strength let his hand fall your words are true words morning glory he answered against akhmeek the beaver or wabisi the wild swan it is better that i should measure my hunter's skill at this iagoo turning around broke the long silence there was a time he said mysteriously when a thousand boys such as eagle feather would have been no match at all for that mouse as he used to be when was that asked eagle feather looking uneasily at his sister in the days of the great door mouse answered iagoo in the days long ago where there were many more animals than men on the earth and the biggest of all the beasts was the dormouse then something strange happened something that never happened before or since shall i tell you about it oh please do beg morning glory the story i am going to tell you began iagoo is not so much a story about the dormouse as it is a story about a little boy and his sister yet had it not been for the dormouse i would not be here to tell about it and you would not be here to listen to begin with you must understand that the world in those days was a different sort of place from what it is now oh yes a different sort of place people did not eat the flesh of animals they lived on berries and roots and wild vegetables the great spirits who made all things on land and in the sky and water had not yet given men mondamin the indian corn there was no fire to give them heat or to cook with in all the world there was just one small fire watched by two old witches who never let anybody come near it and until coyote the prairie wolf came along and stole some of this spire the food that people could manage to get was eaten raw the way it grew they must have been pretty hungry said morning glory oh yes they were hungry agradiagu but that was not all there were so many animals and so few men that the animals ruled the earth in their own way the biggest of them all was bosch quadoce the mastodon he was higher than the highest trees and he had an enormous appetite but he did not stay long on earth or there would not have been food enough even for the other animals i thought you said the dormouse was the biggest interrupted eagle feather iagoo looked at him severely at the time i speak up he continued bosh quadash the mastodon had just gone away he had not gone a bit too soon either for by...

American Indian Fairy Tales by William Trowbridge Larned 4 'Child of the Evening Star'

this is a librivox recording all librivox recordings are in the public domain for more information and to find out how you can volunteer please visit librivox.org recorded by chip in tampa florida on january 16 2006 american indian fairy tales collected by henry r schoolcraft and retold by w.t learned the child of the evening star

once upon a time on the shores of the great lake gichigumi there lived a hunter who had 10 beautiful young daughters their hair was dark and glossy as the wings of a blackbird and when they walked or ran it was with the grace and freedom of the deer in the forest thus it was that many suitors came to court them brave and handsome young men straight as arrows fleet of foot who could travel from sun to sun without fatigue they were sons of the prairie wonderful horsemen who could ride at breakneck speed without saddle or stirrup they could catch a wild horse with a noose tame him in a magical way by breathing into his nostrils then mount him and gallop off as if he had always been ridden there were those also who came from afar in canoes across the waters of the great lake canoes which shot swiftly along urged by the strong silent sweep of the battle all of them brought presence with which they hoped to gain the father's favor feathers from the wings of the eagle who soars high up near the sun furs of the fox and bieber and the thick curly hair of the bison beads of many colors and wampum the shells which the indians used for money the quills of the porcupine and the claws of the grizzly bear deerskin dressed to such a softness that it crumpled up in the hands those and many other things they brought one by one the daughters were wooed and married until nine of them had chosen husband one by one other tents were reared so that instead of the single family lodge on the shores of the lake they were tense enough to form a little village for the country was a rich one and there was game and fish for all there remained the youngest daughter a weenie the fairest of them all gentle as she was proud none was so kind apart unlike her proud and talkative elder sisters owini was shy and modest and spoke but little she loved to wander alone in the woods with no company but the birds and squirrels and her own thoughts what these thoughts were we can only guess from her dreamy eyes and her sweet expression one could but suppose nothing selfish or mean or hateful ever came into her mind yet a weenie modest though she was had a spirit of her own more than one suitor had found this out more than one conceited young man confident that he could win her went away crestfallen when a weenie began to laugh at them the truth is a weenie seemed hard to please suitor after suitor came and some tall young men the handsomest and the bravest in all the country round yet this fawn-eyed maiden would have none of them one was too tall another too short one too thin another too fat at least that was the excuse she gave for sending them away her proud sisters had little patience with her it seemed to be a questioning of their own taste for a weenie had she said the word might have gained a husband more attractive than any of theirs yet no one was good enough they could not understand her so they ended by despising her as a silly and unreasonable girl her father too who loved her dearly and wished her to be happy was much puzzled tell me my daughter he said to her one day is it your wish never to marry the handsomest young men in the land have sought you in marriage and you have sent them all away often with a poor excuse why is it owenie looked at him with her large dark eyes father she said it last it is not that i am willful but it seems somehow as if i had the power to look into the hearts of men it is the heart of the man and not his face that really matters and i have not yet found one youth who in this sense is really...

Etude Study Suzuki Cello School 2 2nd Position Breakdown Class with Sarnia de la Maré,
all right guys so let's just look at um the uh two the first attude for second position

so we're going to start on a b um and then we're going to uh sort of standard closed position in in first position rather yeah closed hand and we're going to play instead of playing the d with this fourth finger we're going to bring our whole hand down uh or up the register so two high notes to so two two semitones up or two semitones closer to the bridge okay so let's let's try that one three and then we're going to move down and use our second finger on that d tricky not really

and then fourth finger on the e new note e two semitones down normal position your your hands in the correct place exactly spot on back onto the second thumb finger is um the first finger is already on the c sharp you should be sitting on it already

and then that d again it's not as complicated as you think

okay so um practice that so so the hardest bit is this shift fourth finger second finger fourth finger second finger i mean you're not playing it with your fourth but that's in your mind's eye the map the cello map you're learning a bit more of the underground london underground map that's what that's that's how you should think of it

so we've got d that'd be a d sharp but we're not playing it but we're playing the e don't spread it too wide a bit sharp there do you see one three two four three one two so once you've mastered that shift and don't lift your hand up don't be um doing anything dramatic like this and then flying down almost glide it down

okay just glide it down i want you to work on that before we go on to the next one we'll do the next one later or tomorrow or something this is a milestone for you this um is the doorway to a a bigger catalogue a bigger repertoire lots more fun and we're moving into the realms of being able to play jazz and blues in this position um it's really opening the gates of something much more exciting second position offers cellists um big avenues for interesting pieces at last at last you say to yourselves um okay that was good wasn't it i enjoyed that what a day we've had i've uploaded about eight classes today so i think that's i think that's enough i don't want you to go any further so um if i get uh any time i'll pop some more backing tracks up later on this evening um i've got a date with mummy so i'm going off shopping um and certainly tomorrow i'm going to spend the whole weekend i'm going to try to get the whole suzuki book done this weekend if possible um time permitting darling it's always time permitting so um it was absolutely brilliant to have you and don't you feel like we've really we're really getting somewhere so hope you like that and come back for more

May Time Suzuki Class Book One Cello School Free Audiobook Online Lessons

hi guys so welcome to may time um there's i've just put a recording up of it in in slow time so um you shouldn't need to hear it again just pop along and um uh listen to it it's really recommended that you listen to it slowly and i hope you've done your warm-up i hope you've done your scale i hope you've done the arpeggio in c major i'm not going to go through that now so the first thing to notice is that the first note is not bow um and then a down bow on the same note but the accent should be it's the first initiative with bar so the accent should be on that so the first c

that way round not heavy that would be silly so nice and light um when you come to four two that's a dotted note so that's going to you're going to hold that for a count of three now how do you count well people count in different ways um one two three four five six one and and two and and there's another way you can do it um let's uh try one two three four five six one two three four five six one two three four five six one two three

etc i really recommend that you um do that um i've got i've done some lectures on uh how to play a piece well and one of them is to look at the music and as it plays count another is to mime really good way um really understand um the tempo it's going to what tempo does for us is it it assists the memory and it and therefore assists the um uh the the um the performance because it's uh so ingrained with with multi factors not just the sound and this is why we remember songs really well rather than um just a set of words if there's a tune to it we'll remember it so details when you've got things like rhythm really really help remember it's it's a an interesting sort of human brain process um another slurs the slurs

mean the same bow movement but there are different types of slurs so this slur

you can really hear the different notes

but this slur is a much smoother slur isn't it and that's on purpose that's no accident so you really want to um what there is is you're giving a bit more gravity to

i put up an articulation tool the other day which is really helpful so fall into the note or play the note there's a difference just let gravity and your hand guide or bring some energy from your hand it's a massive difference and that's what differentiates that that um slurred triplet so you need to work on that um what else is tricky let's have a look uh i think that may have been the hardest part of the the whole ah right uh bar nine so

we've got a volume increase so try not to be too loud

because then you have nowhere to go and so so you really need to work on this bit

nice and loud i'm exaggerating you don't want to um you know be quite that obvious but then you've got this loud note rest okay um treat the quavers like a staccato what suzuki does is um by putting using these quavers it really gets you good at understanding how a staccato note works because you for example um uh 13.

you wouldn't say you wouldn't um lift your bow off the string to make that quaver well that that's exactly the same as a staccato a staccato is just a shortened note you must think of the staccato don't ever come off the string that's a different method for much later on um you you want to stay attached to the string don't lose yourself keep those fingers close as well keep them on board okay dim and rit at the end um slow down and decrease in volume

keep these

you probably wouldn't be that long i was um looking checking myself in the mirror um so loud the diminurite um you find that generally when you come to the end of a piece anyway and as a musician you'll probably find that you're going to be doing that and quite naturally it sort of happens okay um yeah i think that's it um yeah any questions you can message the podcast um on on any...

May Time Suzuki Cello School 2 Free Lesson With Sarnia Open Access Music School for All Musicians.
hello gorgeous people cellists from all around the world welcome we're going through the um suzuki book two today um i'm doing what i can and we're already on the variation we've already done our warm-ups if you're just if you're just arriving at this podcast please warm up please stretch physically stretch i really like the uh my students to do the yoga stuff and it's difficult because you're not with me i can't make you do things so we have to imagine that you're um doing um what i'd like you to do um and you know one has to just hope so let's just pop on my backing track now today we're going to have a quick look at the well nothing's quick actually is it anymore these days i think when you get to a certain stage of musicianship nothing is quick anymore um but i'll be fairly brief now what we're doing now

is the variation of the long long ago by t.h bailey and this is i'm going to turn that down a little i think it's c major still but it's what what's going on it looks so busy doesn't it don't panic it's exactly the same tune but what they've done is they've stuck a load of g's in uh open g's so if you look if you can get both uh pieces in front of you the the first bar c c d e e and f natural let's just say f and if you look underneath it's c added g c d e and a g do you see they're adding g's every time there's a longer note they stick a g in i i think that's quite helpful to know what's going on and it's an open g and what's really good about this is it really tunes your ear because um you've got to be uh batu um those two g's and this is why suzuki's so good it's a sort of cheetah's way of getting your ear to improve so we've got this unique those are an octave apart and you'll just get so good at understanding um what what's in tune and what's not because you're doing these octaves next to each other it's a really good study a really useful tool so i'm not going to play at all i'm going to explain to you the difference between a slur that's a slur same bow movement now some slurs you would differentiate between the notes you would do this just there was a slight differentiation there i i pressed a little released a little pressed a little released a little pressed a little changed note and pressed again do you see but some slurs you keep exactly the same pressure on both notes and i think if you can do that for this rather than that's differentiating between those but if you can

really slur them that is going to be a very impressive um technique for you to grapple with early on in your in your advancing musicianship okay

okay so slow

how do we do a staccato we i don't want to shake your boat off the string you sort of push it a little there's some energy coming from your body and it's really you're doing this with your hand

but of course there's a string crossing so it's a little bit tricky so you're going to have to work at that

etc it's actually easier to do them quickly than to do them slowly but i want you to do it slowly and the string crossings do throw you a little bit but you know what it's quite easy to do a staccato string crossing because you're you're playing a half half the note so you've got that half time when you're off the string to get to the next note do you see so it's all it's like a rest and it's played like a rest albeit a quick rest um so i've i have the version of this up on i think vapour punk has done it you can go and have a listen and play along i like this i think this is good fun um repeat repeat repeat and but do it slowly and make sure if you want to um i in fact i recommend that you get some highlighters and because when you when you um do this relatively quickly you can get confused about whether you're supposed to be doing an up bow or a down bow but don't forget these staccatos oh sorry these staccatos are on...

Long Long Ago Cello Suzuki Bk 2 Free Class With Sarnia How to Play Cello Music School Audiobook

hi everybody welcome to long long ago by t.h bailey now this is the first piece that we're looking at today from suzuki book one i'm going to break it down into little sections and if you want to hear the whole thing please go to one of the other broadcasts i'm not going to play it right through now this is really for absolute beginners um not of beginners of cello i'm expecting that you can read music i'm expecting that you've listened over and over and over again to the um the piece how it should be played unto my previous introductory lessons okay so i'm expecting something but i'm not expecting you to have looked at this and played it in detail now the first rule make sure you're in tune

keep your back straight draw that tummy button in as if it's attached to your spine just a little bit tight i don't want any something um if you slump your turn will be affected i really noticed that if i'm trying to operate my recording devices or shuffling about or something um or i'm not dead straight or dead comfortable it affects my tone um and really you you need to work on that because if you want to um record at a later date you're going to need a beautiful tone and and you want it nice and steady so we're looking in the mirror in front of us i do hope you have a mirror in front of you and we are making sure that our bow is perpendicular okay to our string that's the the most important thing for tone as well because everything's important let's face it that's a problem with the cello everything matters so long long ago is in c major that's okay we can find the c here fiddle around you can hear that's not a c

sounds pretty spot on look i've got my fourth finger on the g string

and we've got um we're gonna hold that note for two so don't be tempted to uh shorten it

but hold it now let's pop on our backing track because this is going to make sure that you keep in tune okay i want you to play this a backing track i use garageband but you can use whatever you can use a drone and whatever you can get up at the time so

now we're going to play that quite loudly because if you look ahead we're go we have to get quieter now it's a bit difficult on the recorder to get the right volumes but hopefully um

and get ready this last this fourth bar you've got to really bring it down

let's do this a few times

so you've got a string crossing and a volume change tricky i huh you can hear that um next bit uh what we've got

same

a little bit different um no i think it's the same yeah same so nothing nothing going on but do it keep doing it even if it's exactly the same i want you to do it um let's have a look what's next that's nice

and then we've got the big string crossing we've sound

yeah i think they're really important notes let's give them some personality um dumb dumb uh those two notes are a launch pad aren't they they really are a launchpad now it's an open note

so uh it shouldn't be too tricky but of course if you're out of tune it you're going to be completely out if these are out so if you did a bit sharp

it would be all wrong so you need

and you've got a another big string crossing there that's a bit flat sorry about that um loud it's loud

but you can't be too quiet on this g because you've got to be even quieter on this c it's difficult uh with my backing track for you to hear that give yourself some somewhere to go some space okay next bit um

it doesn't say that you should slur down but as you come to the end of a piece you would always naturally just slow it down a bit to get the audience calm after your um your fantastic performance which sent them into a frenzy of ecstasy so there we go that was long long ago um i've got this uh i've got...

Tonalization Suzuki Cello School 2 Free Lesson With Sarnia de la Maré Audiobook Class.
all right so we're going to start our marathon day of um suzuki book 2 cello school um we're going through each part of the whole book in in great detail now i'm going to just read out the the main points for study of volume 2. so the child well i don't teach many children and i know the wonderful internet is filled with adults desperate desperate to improve on their musicianship with little time and that's why i've chosen the suzuki method as my main

reference really because the suzuki method gets very good results very quickly um i do the abrsm as well of course um well not of course why why would that be um of course so anyway the child should or the person the person you my darlings should listen to the reference recordings every day at home to develop musical sensitivity okay now this is something i very much agree with rapid progress depends on listening now adults tend to have a broader musical knowledge and that's why on the podcast i've got lots of versions using drums and guitars and i [ __ ] them up a bit uh i think it's just a bit more exciting um so if you if you would like to hear some of the um more contemporary ways of listening to these tracks um you can do i've got all angles covered tonalization the production of a beautiful note this is the hardest thing to achieve if you have missed bits from book one i would pre i'd actually prefer you to go back to and do all of book one every single um piece in it and then come back here but adults we you know we're desperate shall we because we're running out of time and we or we don't have enough time etc etc so sometimes we like to miss steps and it's foolhardy however if you've done that i'm going to work you really really hard for book two um the way to get a beautiful sound is to be in tune if you can play a beautiful sound on your open note you can play a beautiful sound when you've got your finger down so practice the beautiful sounds

on the open string and the best way to do the the first the first way is to keep that bow perpendicular to the string if it's making an x shape it does that and an x shape up the other way it does that if it's straight

just glorious just glorious the difference is phenomenal you'll need a mirror always use a mirror mirror the mirror is really the secret to good tone but how bizarre is that who would have thought that that would be the case it's true it's just true that's um seeing yourself make a straight bow somehow implants in you after you've watched yourself a few times and it's much easier to do it live let me tell you than to record yourself and look back at it you know who needs that drama just put a mirror in front of you where you practice okay once you've done the mirror um keep it there all the time and it it does two things the mirror the mirror helps you be distracted by looking at a person in front of you which means you you're going to find it much better to play in front of people but the mirror also tells you it to look somewhere else rather than at your hands really good tip there and it also tells you if you're both straight and how you look if you're you can tell if you're hunched if you're both skew um you know if you're flitting around and uh you know not concentrating the mirror will tell you you know it's a very interesting thing it's it's like a sort of instant analysis okay i think the um the mirror idea is something that if if i had control over my students i would demand that they do it in front of a mirror right the position attitudes etude is a fancy way of saying what's french isn't it i think uh of saying studies should be practiced well not well before well before each lesson and we're going to be doing that we're going what you'll have to do is you'll have to go backwards and forwards and have a little listen to all my broadcasts um i also recommend that you always...