Bassoon Guide
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Saturday Playlist
October 26, 2019: (Full-page version) Close Window “To achieve great things, two things are needed: a plan, and not quite enough time.” — Leonard Bernstein Start Buy CD Program Composer Title Performers Record Label Stock Number Barcode Time online Sleepers, Awake! 00:01 Buy Now! Haydn Symphony No. 008 in G, "Evening" English Concert/Pinnock Archiv 423 098 028942309821 00:24 Buy Now! Scarlatti, D. Sonata in A, Kirkpatrick 212 Murray Perahia Sony 63380 07464633802 00:28 Buy Now! Grieg Symphonic Dances, Op. 64 Philharmonia Orchestra/Leppard Philips 438 380 02894388023 Academy of St. Martin-in-the- 01:00 Buy Now! Rossini Overture ~ Cinderella EMI 49155 077774915526 Fields/Marriner 01:09 Buy Now! Parry Elegy for Brahms London Philharmonic/Boult EMI 49022 07777490222 01:20 Buy Now! Brahms Sextet No. 1 in B flat, Op. 18 Stern/Lin/Laredo/Tree/Ma/Robinson Sony Classical 45820 07464458202 02:00 Buy Now! Mozart Fantasia in C minor, K. 475 Alicia de Larrocha RCA Red Seal 60453 090266045327 Lento assai ~ String Quartet in F, Op. 135 (arr. 02:15 Buy Now! Beethoven Royal Philharmonic/Rosekrans Telarc 80562 089408056222 for string orchestra) 02:27 Buy Now! Gade Symphony No. 7 in F, Op. 45 Stockholm Sinfonietta/Jarvi BIS 355 7318590003558 03:00 Buy Now! Debussy Prelude to the Afternoon of a Faun Zoeller/Berlin Philharmonic/Karajan EMI 65914 724356591424 03:11 Buy Now! Mendelssohn Cello Sonata No. 1 in B flat, Op. 45 Rosen/Artymiw Bridge 9501 090404950124 03:37 Buy Now! Offenbach Offenbachiana Monte Carlo Philharmonic/Rosenthal Naxos 8.554005 N/A 04:01 Buy Now! Saint-Saëns Havanaise, Op. -
Gender Association with Stringed Instruments: a Four-Decade Analysis of Texas All-State Orchestras
Texas Music Education Research, 2012 V. D. Baker Edited by Mary Ellen Cavitt, Texas State University—San Marcos Gender Association with Stringed Instruments: A Four-Decade Analysis of Texas All-State Orchestras Vicki D. Baker Texas Woman’s University The violin, viola, cello, and double bass have fluctuated in both their gender acceptability and association through the centuries. This can partially be attributed to the historical background of women’s involvement in music. Both church and society rigidly enforced rules regarding women’s participation in instrumental music performance during the Middle Ages and Renaissance. In the 1700s, Antonio Vivaldi established an all-female string orchestra and composed music for their performance. In the early 1800s, women were not allowed to perform in public and were severely limited in their musical training. Towards the end of the 19th century, it became more acceptable for women to study violin and cello, but they were forbidden to play in professional orchestras. Societal beliefs and conventions regarding the female body and allure were an additional obstacle to women as orchestral musicians, due to trepidation about their physiological strength and the view that some instruments were “unsightly for women to play, either because their presence interferes with men’s enjoyment of the female face or body, or because a playing position is judged to be indecorous” (Doubleday, 2008, p. 18). In Victorian England, female cellists were required to play in problematic “side-saddle” positions to prevent placing their instrument between opened legs (Cowling, 1983). The piano, harp, and guitar were deemed to be the only suitable feminine instruments in North America during the 19th Century in that they could be used to accompany ones singing and “required no facial exertions or body movements that interfered with the portrait of grace the lady musician was to emanate” (Tick, 1987, p. -
Working List of Repertoire for Tenor Trombone Solo and Bass Trombone Solo by People of Color/People of the Global Majority (POC/PGM) and Women Composers
Working List of Repertoire for tenor trombone solo and bass trombone solo by People of Color/People of the Global Majority (POC/PGM) and Women Composers Working list v.2.4 ~ May 30, 2021 Prepared by Douglas Yeo, Guest Lecturer of Trombone Wheaton College Conservatory of Music Armerding Center for Music and the Arts www.wheaton.edu/conservatory 520 E. Kenilworth Avenue Wheaton, IL 60187 Email: [email protected] www.wheaton.edu/academics/faculty/douglas-yeo Works by People of Color/People of the Global Majority (POC/PGM) Composers: Tenor trombone • Amis, Kenneth Preludes 1–5 (with piano) www.kennethamis.com • Barfield, Anthony Meditations of Sound and Light (with piano) Red Sky (with piano/band) Soliloquy (with trombone quartet) www.anthonybarfield.com 1 • Baker, David Concert Piece (with string orchestra) - Lauren Keiser Publishing • Chavez, Carlos Concerto (with orchestra) - G. Schirmer • Coleridge-Taylor, Samuel (arr. Ralph Sauer) Gypsy Song & Dance (with piano) www.cherryclassics.com • DaCosta, Noel Four Preludes (with piano) Street Calls (unaccompanied) • Davis, Nathaniel Cleophas (arr. Aaron Hettinga) Oh Slip It Man (with piano) Mr. Trombonology (with piano) Miss Trombonism (with piano) Master Trombone (with piano) Trombone Francais (with piano) www.cherryclassics.com • John Duncan Concerto (with orchestra) Divertimento (with string quartet) Three Proclamations (with string quartet) library.umkc.edu/archival-collections/duncan • Hailstork, Adolphus Cunningham John Henry’s Big (Man vs. Machine) (with piano) - Theodore Presser • Hong, Sungji Feromenis pnois (unaccompanied) • Lam, Bun-Ching Three Easy Pieces (with electronics) • Lastres, Doris Magaly Ruiz Cuasi Danzón (with piano) Tres Piezas (with piano) • Ma, Youdao Fantasia on a Theme of Yada Meyrien (with piano/orchestra) - Jinan University Press (ISBN 9787566829207) • McCeary, Richard Deming Jr. -
Themenkatalog »Musik Verfolgter Und Exilierter Komponisten«
THEMENKATALOG »Musik verfolgter und exilierter Komponisten« 1. Alphabetisches Verzeichnis Babin, Victor Capriccio (1949) 12’30 3.3.3.3–4.3.3.1–timp–harp–strings 1908–1972 for orchestra Concerto No.2 (1956) 24’ 2(II=picc).2.2.2(II=dbn)–4.2.3.1–timp.perc(3)–strings for two pianos and orchestra Blech, Leo Das war ich 50’ 2S,A,T,Bar; 2(II=picc).2.corA.2.2–4.2.0.1–timp.perc–harp–strings 1871–1958 (That Was Me) (1902) Rural idyll in one act Libretto by Richard Batka after Johann Hutt (G) Strauß, Johann – Liebeswalzer 3’ 2(picc).1.2(bcl).1–3.2.0.0–timp.perc–harp–strings Blech, Leo / for coloratura soprano and orchestra Sandberg, Herbert Bloch, Ernest Concerto Symphonique (1947–48) 38’ 3(III=picc).2.corA.2.bcl.2.dbn–4.3.3.1–timp.perc(3):cyms/tam-t/BD/SD 1880–1959 for piano and orchestra –cel–strings String Quartet No.2 (1945) 35’ Suite Symphonique (1944) 20’ 3(III=picc).2.corA.2.bcl.2.dbn–4.3.3.1–timp.perc:cyms/BD–strings Violin Concerto (1937–38) 35’ 3(III=picc).2.corA.2.bcl.2.dbn–4.3.3.1–timp.perc(2):cyms/tgl/BD/SD– harp–cel–strings Braunfels, Walter 3 Chinesische Gesänge op.19 (1914) 16’ 3(III=picc).2(II=corA).3.2–4.2.3.1–timp.perc–harp–cel–strings; 1882–1954 for high voice and orchestra reduced orchestraion by Axel Langmann: 1(=picc).1(=corA).1.1– Text: from Hans Bethge’s »Chinese Flute« (G) 2.1.1.0–timp.perc(1)–cel(=harmonium)–strings(2.2.2.2.1) 3 Goethe-Lieder op.29 (1916/17) 10’ for voice and piano Text: (G) 2 Lieder nach Hans Carossa op.44 (1932) 4’ for voice and piano Text: (G) Cello Concerto op.49 (c1933) 25’ 2.2(II=corA).2.2–4.2.0.0–timp–strings -
2014 SSS Program.Indd
Star-Spangled Spectacular! Benaroya Hall Thursday July 3, 2014 7:30 PM Larry Gookin, Conductor seattlewindsymphony.org Program The Star-Spangled Banner ................... Orchestrated by John Philip Sousa Harmonized by Walter Damrosch / Arranged by Keith Brion America The Beautiful........................... Samuel Augustus Ward / Arranged by Carmen Dragon ~Welcome~ Liberty Bell March ................................ Orchestrated by John Philip Sousa Arranged by Keith Brion Seattle Wind Symphony is especially proud to present our second STAR SPANGLED SPECTACULAR musical salute Thoughts of Love .................................. Arthur Pryor to our nation. Our music for this “extravaganza” has been selected to put a song on your lips, tears in your eyes Matthew Grey, Trombone Soloist and a warm feeling of patriotism in your heart. We want to extend a special welcome and thanks to the Honor Oh Shenandoah ................................... Arranged by Frank Ticheli Guard from Joint Base Lewis McChord for presenting the colors to start our concert. We also want to thank the management of Benaroya Hall for their excellent leadership in our presentation today. We are very appreciative of Through The Air .................................... August Damm the participation of vocal soloist Sheila Houlahan and our narrator Dave Beck for sharing their talents, and for our Sara Jolivet, Piccolo Soloist instrumental soloists Michel Jolivet, Sara Jolivet, and Matt Grey. Thank You! Marching Through Georgia ................... John Philip Sousa Arranged by Keith Brion With today’s concert, Seattle Wind Symphony will have completed our third season. We recognize that most Rolling Thunder .................................... Henry Fillmore people have never heard high quality symphonic wind music, so we would like to invite you to our regular season performances. The 2014-2015 season dates are posted on our web site: www.seattlewindsymphony.org. -
String Orchestra
String Orchestra First Semester st Instructional 1 Quarter Days TN Standards Lesson Focus Additional Notes Effective Auditioning: Performance Week 1 5 2,4,8,9,10 Anxiety, Preparation, Scales G D A C F B-flat Instrument Maintenance: Review of basic. Fine tuning of instrument Week 2 5 2,4,8,9,10 for high performance. Basics of performance with wind and percussion instruments Preparing Music: Determining Introduction to melodic minor effective bowings (detache, martele, scales: g (vln), c (vla/clo), e Week 3 5 2,4,8,9,10 ricochet), creating own fingering (bass), create video demonstrating layout, Uses of bowings for feel fivemain bow strokes for use in and sound of music performance Rhythm and Rehearsal: Syncopation, World Music Rhythms, Week 4 5 2,4,8,9,10 Rehearsal/Italian Terminology, Performing in styles Addition of E, B, E-‐flat to scales, Recording as a Playing Test: Scales (Major and Week 5 4 2,4,8,9,10 teaching/learning tool, Effective AW melodic minor) Recording Habits Shifting: 3rdposition,½ position, and 5thposition. Use in scales and simple pre-‐heard melodies, Shifting on scales required on Week 6 4 7,8,10,11 thumb position application for all four strings violin/viola, higher shifting in cello/bass. Add shifting to parts previously played in first position Addition of A-‐flatand F-‐ sharpto scale routine, Key Quiz of Assist during Stripes with tuning Week 7 5 7,8,10,11 keys 5 sharps to 5flats, rhythms and changing of old strings with scales, Scales to two octaves, application of Create videos for standard Week 8 5 7,8,10,11 -
WOODWIND INSTRUMENT 2,151,337 a 3/1939 Selmer 2,501,388 a * 3/1950 Holland
United States Patent This PDF file contains a digital copy of a United States patent that relates to the Native American Flute. It is part of a collection of Native American Flute resources available at the web site http://www.Flutopedia.com/. As part of the Flutopedia effort, extensive metadata information has been encoded into this file (see File/Properties for title, author, citation, right management, etc.). You can use text search on this document, based on the OCR facility in Adobe Acrobat 9 Pro. Also, all fonts have been embedded, so this file should display identically on various systems. Based on our best efforts, we believe that providing this material from Flutopedia.com to users in the United States does not violate any legal rights. However, please do not assume that it is legal to use this material outside the United States or for any use other than for your own personal use for research and self-enrichment. Also, we cannot offer guidance as to whether any specific use of any particular material is allowed. If you have any questions about this document or issues with its distribution, please visit http://www.Flutopedia.com/, which has information on how to contact us. Contributing Source: United States Patent and Trademark Office - http://www.uspto.gov/ Digitizing Sponsor: Patent Fetcher - http://www.PatentFetcher.com/ Digitized by: Stroke of Color, Inc. Document downloaded: December 5, 2009 Updated: May 31, 2010 by Clint Goss [[email protected]] 111111 1111111111111111111111111111111111111111111111111111111111111 US007563970B2 (12) United States Patent (10) Patent No.: US 7,563,970 B2 Laukat et al. -
View List (.Pdf)
Symphony Society of New York Stadium Concert United States Premieres New York Philharmonic Commission as of November 30, 2020 NY PHIL Biennial Members of / musicians from the New York Philharmonic Click to jump to decade 1842-49 | 1850-59 | 1860-69 | 1870-79 | 1880-89 | 1890-99 | 1900-09 | 1910-19 | 1920-29 | 1930-39 1940-49 | 1950-59 | 1960-69 | 1970-79 | 1980-89 | 1990-99 | 2000-09 | 2010-19 | 2020 Composer Work Date Conductor 1842 – 1849 Beethoven Symphony No. 3, Sinfonia Eroica 18-Feb 1843 Hill Beethoven Symphony No. 7 18-Nov 1843 Hill Vieuxtemps Fantasia pour le Violon sur la quatrième corde 18-May 1844 Alpers Lindpaintner War Jubilee Overture 16-Nov 1844 Loder Mendelssohn The Hebrides Overture (Fingal's Cave) 16-Nov 1844 Loder Beethoven Symphony No. 8 16-Nov 1844 Loder Bennett Die Najaden (The Naiades) 1-Mar 1845 Wiegers Mendelssohn Symphony No. 3, Scottish 22-Nov 1845 Loder Mendelssohn Piano Concerto No. 1 17-Jan 1846 Hill Kalliwoda Symphony No. 1 7-Mar 1846 Boucher Furstenau Flute Concerto No. 5 7-Mar 1846 Boucher Donizetti "Tutto or Morte" from Faliero 20-May 1846 Hill Beethoven Symphony No. 9, Choral 20-May 1846 Loder Gade Grand Symphony 2-Dec 1848 Loder Mendelssohn Violin Concerto in E minor 24-Nov 1849 Eisfeld Beethoven Symphony No. 4 24-Nov 1849 Eisfeld 1850 – 1859 Schubert Symphony in C major, Great 11-Jan 1851 Eisfeld R. Schumann Introduction and Allegro appassionato for Piano and 25-Apr 1857 Eisfeld Orchestra Litolff Chant des belges 25-Apr 1857 Eisfeld R. Schumann Overture to the Incidental Music to Byron's Dramatic 21-Nov 1857 Eisfeld Poem, Manfred 1860 - 1869 Brahms Serenade No. -
Instruments of the Orchestra
INSTRUMENTS OF THE ORCHESTRA String Family WHAT: Wooden, hollow-bodied instruments strung with metal strings across a bridge. WHERE: Find this family in the front of the orchestra and along the right side. HOW: Sound is produced by a vibrating string that is bowed with a bow made of horse tail hair. The air then resonates in the hollow body. Other playing techniques include pizzicato (plucking the strings), col legno (playing with the wooden part of the bow), and double-stopping (bowing two strings at once). WHY: Composers use these instruments for their singing quality and depth of sound. HOW MANY: There are four sizes of stringed instruments: violin, viola, cello and bass. A total of forty-four are used in full orchestras. The string family is the largest family in the orchestra, accounting for over half of the total number of musicians on stage. The string instruments all have carved, hollow, wooden bodies with four strings running from top to bottom. The instruments have basically the same shape but vary in size, from the smaller VIOLINS and VIOLAS, which are played by being held firmly under the chin and either bowed or plucked, to the larger CELLOS and BASSES, which stand on the floor, supported by a long rod called an end pin. The cello is always played in a seated position, while the bass is so large that a musician must stand or sit on a very high stool in order to play it. These stringed instruments developed from an older instrument called the viol, which had six strings. -
New Zealand Works for Contrabassoon
Hayley Elizabeth Roud 300220780 NZSM596 Supervisor- Professor Donald Maurice Master of Musical Arts Exegesis 10 December 2010 New Zealand Works for Contrabassoon Contents 1 Introduction 3 2.1 History of the contrabassoon in the international context 3 Development of the instrument 3 Contrabassoonists 9 2.2 History of the contrabassoon in the New Zealand context 10 3 Selected New Zealand repertoire 16 Composers: 3.1 Bryony Jagger 16 3.2 Michael Norris 20 3.3 Chris Adams 26 3.4 Tristan Carter 31 3.5 Natalie Matias 35 4 Summary 38 Appendix A 39 Appendix B 45 Appendix C 47 Appendix D 54 Glossary 55 Bibliography 68 Hayley Roud, 300220780, New Zealand Works for Contrabassoon, 2010 3 Introduction The contrabassoon is seldom thought of as a solo instrument. Throughout the long history of contra- register double-reed instruments the assumed role has been to provide a foundation for the wind chord, along the same line as the double bass does for the strings. Due to the scale of these instruments - close to six metres in acoustic length, to reach the subcontra B flat’’, an octave below the bassoon’s lowest note, B flat’ - they have always been difficult and expensive to build, difficult to play, and often unsatisfactory in evenness of scale and dynamic range, and thus instruments and performers are relatively rare. Given this bleak outlook it is unusual to find a number of works written for solo contrabassoon by New Zealand composers. This exegesis considers the development of contra-register double-reed instruments both internationally and within New Zealand, and studies five works by New Zealand composers for solo contrabassoon, illuminating what it was that led them to compose for an instrument that has been described as the 'step-child' or 'Cinderella' of both the wind chord and instrument makers. -
Mozart Adagio Kv411 for Reed Quintet Sheet Music
Mozart Adagio Kv411 For Reed Quintet Sheet Music Download mozart adagio kv411 for reed quintet sheet music pdf now available in our library. We give you 6 pages partial preview of mozart adagio kv411 for reed quintet sheet music that you can try for free. This music notes has been read 2355 times and last read at 2021-09-23 14:59:30. In order to continue read the entire sheet music of mozart adagio kv411 for reed quintet you need to signup, download music sheet notes in pdf format also available for offline reading. Instrument: Alto Saxophone, Bassoon, Clarinet, Oboe Ensemble: Woodwind Quintet Level: Intermediate [ READ SHEET MUSIC ] Other Sheet Music Mozart Adagio Kv410 For Reed Trio Oboe Clarinet Bassoon Mozart Adagio Kv410 For Reed Trio Oboe Clarinet Bassoon sheet music has been read 2465 times. Mozart adagio kv410 for reed trio oboe clarinet bassoon arrangement is for Early Intermediate level. The music notes has 5 preview and last read at 2021-09-23 19:25:04. [ Read More ] Adagio From Piano Concerto In A Major K488 Mozart Arranged For Wind Quintet Adagio From Piano Concerto In A Major K488 Mozart Arranged For Wind Quintet sheet music has been read 2817 times. Adagio from piano concerto in a major k488 mozart arranged for wind quintet arrangement is for Advanced level. The music notes has 6 preview and last read at 2021-09-22 11:16:49. [ Read More ] Mozart Clarinet Concerto K622 Mvt Ii Adagio Transposed Into Eb Wind Quintet Clarinet Feature Mozart Clarinet Concerto K622 Mvt Ii Adagio Transposed Into Eb Wind Quintet Clarinet Feature sheet music has been read 7008 times. -
Instrument Descriptions
RENAISSANCE INSTRUMENTS Shawm and Bagpipes The shawm is a member of a double reed tradition traceable back to ancient Egypt and prominent in many cultures (the Turkish zurna, Chinese so- na, Javanese sruni, Hindu shehnai). In Europe it was combined with brass instruments to form the principal ensemble of the wind band in the 15th and 16th centuries and gave rise in the 1660’s to the Baroque oboe. The reed of the shawm is manipulated directly by the player’s lips, allowing an extended range. The concept of inserting a reed into an airtight bag above a simple pipe is an old one, used in ancient Sumeria and Greece, and found in almost every culture. The bag acts as a reservoir for air, allowing for continuous sound. Many civic and court wind bands of the 15th and early 16th centuries include listings for bagpipes, but later they became the provenance of peasants, used for dances and festivities. Dulcian The dulcian, or bajón, as it was known in Spain, was developed somewhere in the second quarter of the 16th century, an attempt to create a bass reed instrument with a wide range but without the length of a bass shawm. This was accomplished by drilling a bore that doubled back on itself in the same piece of wood, producing an instrument effectively twice as long as the piece of wood that housed it and resulting in a sweeter and softer sound with greater dynamic flexibility. The dulcian provided the bass for brass and reed ensembles throughout its existence. During the 17th century, it became an important solo and continuo instrument and was played into the early 18th century, alongside the jointed bassoon which eventually displaced it.