String Section the String Section

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The Classroom Resource faggot String Section The String Section Where did the string section Repertoire that come from? features the string The string section as we know it today really began to take shape at the end of the section 17th century. Before that instruments had mainly played a supporting role to the human voice, or had performed only as soloists or in very small chamber groups. An orchestra made up just of string players is The violin emerged in the mid-16th century and the members of the violin family called a string orchestra. Many composers have (including viola, cello and double-bass) began to dominate the more ancient viol written pieces for string orchestra including family, even though at first they had been thought somewhat unrefined! Composers Elgar, Barber, Strauss and Schoenberg. Some soon began to appreciate the power, brilliance and versatility of this new family of composers have also composed movements instruments. By the end of the 17th century groups of stringed instruments were within large pieces that feature just the string being employed by leading composers and the violin family (or string section) section, or give the strings big section solos. For instance in Mahler Symphony No 5 there is assumed its position as the heart of the orchestra. a very famous slow movement written just for strings and harp, and in Tchaikovsky Symphony No 4 there is a fast and quirky movement where What is the concertmaster? the string section only plucks the strings and IThe concertmaster is the principal first violinist and also the leader of the orchestra. alternates with the wind and brass sections. The position of concertmaster is a bit like the managing director position in a business. The concertmaster sits at the front of the first violins, closest to the conductor and the audience. At the beginning of a concert it is the concertmaster who stands up and asks the oboeist to give the note that the rest of orchestra tunes to. The concertmaster also makes decisions about bowing and about other technical matters that affect the string section, and particularly the violins. If there are any violin solos then the concertmaster will play them. The concertmaster must usually be the most skilled musician in the section, good at learning music quickly, at counting and observing the conductor so that the rest of the section can follow. What is bowing? All of the instruments in the string section make their sound by having a bow pulled across their strings. Bows can be pulled in two directions, either up or down. To make a consistent sound every players bow should go in the same direction, so someone has to decide which way to go! This is known as bowing. The concertmaster, along with other string section principals, works out the bowing for each piece of music and advises on specific techniques. Next time you go to hear an orchestra, watch the violin section and check that all of their bows are travelling in the same direction! Research task... There are a lot of diferent techniques string players use to make diferent sounds from their instruments. Use the internet to fnd out about the following techniques. Here are some websites you can visit… q $BOZPVOBNFUIFUFDIOJRVFUIBUTUSJOHQMBZFSTVTFXIFOUIFZQMVDLUIFTUSJOH q $BOZPVOBNFUIFUFDIOJRVFUIBUTUSJOHQMBZFSTVTFXIFOUIFZCPVODFUIFJSCPXPƃUIFTUSJOHT q $BOZPVEFTDSJCFXIBUUIFUFDIOJRVFTDPMMFHOPNFBOT NZSO Music for Schools - Rachel Hyde ©2011 nzso.co.nz/education.

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Mississippi Symphony Orchestra (MSO) President
POSITION DESCRIPTION June 2021 Mississippi Symphony Orchestra (MSO) President MSO seeks a business professional who will partner with veteran Music Director & Conductor Crafton Beck, to deliver exceptional orchestral music experiences and education programs that engage and include Mississippi communities throughout the state. Founded in 1944, the Mississippi Symphony Orchestra is the cornerstone of Mississippi performing arts and has a long history of innovation, creativity, and excellence. Led by Music Director Crafton Beck and based in the City of Jackson, MSO is an innovative regional orchestra that presents orchestral music performances, programs and education of the highest quality to residents and visitors of Mississippi. Known as the “Birthplace of America’s Music,” Mississippi has shaped the course of modern music with its contributions to blues, jazz, rock, country and gospel. BACKGROUND MSO has acted as a cultural trailblazer since its founding. As the largest professional performing arts organization in the state, the financially stable MSO performs approximately 20 concerts and approximately 100 full orchestra and small ensemble educational performances statewide for more than 30,000 Mississippians each year. The Selby and Richard McRae Foundation Bravo Series is MSO’s banner classical series of 5 concerts which are annually performed along with the 2 concert Pops Series at the 2,040 seat Thalia Mara Hall in downtown Jackson, while an equally successful Chamber Orchestra Series of four concerts is performed in intimate venues throughout Jackson and the region and the popular Pepsi Pops concert is performed at a local outdoor venue. MSO tours statewide as a full orchestra, chamber orchestra in three resident ensembles - Woodwind Quintet, Brass Quintet and String Quartet with annual and bi-annual visits to Vicksburg, Pascagoula, McComb, Brookhaven, Poplarville, and other cities.
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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.
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University Microfilms, Inc., Ann Arbor, Michigan TRANSFORMATIONS of HARMONY AND
TRANSFORMATIONS OF HARMONY AND CONSISTENCIES OF FORM IN THE SIX ORGAN SYMPHONIES OF LOUIS VIERNE Item Type text; Dissertation-Reproduction (electronic) Authors Long, Page Carroll, 1933- Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 24/09/2021 21:01:35 Link to Item http://hdl.handle.net/10150/284469 This dissertation has been 63-6725 microfilmed exactly as received LONG, Page Carroll, 1933- TRANSFORMATIONS OF HARMONY AND CON SISTENCIES OF FORM IN THE SIX ORGAN SYMPHONIES OF LOUIS VIERNE. University of Arizona, A.Mus.D., 1963 Music University Microfilms, Inc., Ann Arbor, Michigan TRANSFORMATIONS OF HARMONY AND CONSISTENCIES OF FOFM IN THE SIX ORGAN SYMPHONIES OF LOUIS VIERNE by v Page CiLong A Paper Submitted to the Faculty of the SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 1963 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE I hereby recommend that this dissertation prepared under my direction by Page G. Long entitled TranaformationB of harmony and consistencies of form in the six organ symphonies of Louis Vierne. be accepted as fulfilling the dissertation requirement of the degree of A.Mus.D. <==»^Di ssertation Director Date After inspection of the dissertation, the following members of the Final Examination Committee concur in its approval and recommend its acceptance:* 6 -3 1 ~ 6, 3 <9.^w.
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Gr. 4 to 8 Study Guide
Toronto Symphony TS Orchestra Gr. 4 to 8 Study Guide Conductors for the Toronto Symphony Orchestra School Concerts are generously supported by Mrs. Gert Wharton. The Toronto Symphony Orchestra’s School Concerts are generously supported by The William Birchall Foundation and an anonymous donor. Click on top right of pages to return to the table of contents! Table of Contents Concert Overview Concert Preparation Program Notes 3 4 - 6 7 - 11 Lesson Plans Artist Biographies MusicalGlossary 12 - 38 39 - 42 43 - 44 Instruments in Musicians Teacher & Student the Orchestra of the TSO Evaluation Forms 45 - 56 57 - 58 59 - 60 The Toronto Symphony Orchestra gratefully acknowledges Pierre Rivard & Elizabeth Hanson for preparing the lesson plans included in this guide - 2 - Concert Overview No two performances will be the same Play It by Ear! in this laugh-out-loud interactive February 26-28, 2019 concert about improvisation! Featuring Second City alumni, and hosted by Suitable for grades 4–8 Kevin Frank, this delightfully funny show demonstrates improvisatory techniques Simon Rivard, Resident Conductor and includes performances of orchestral Kevin Frank, host works that were created through Second City Alumni, actors improvisation. Each concert promises to Talisa Blackman, piano be one of a kind! Co-production with the National Arts Centre Orchestra Program to include excerpts from*: • Mozart: Overture to The Marriage of Figaro • Rimsky-Korsakov: Scheherazade, Op. 35, Mvt. 2 (Excerpt) • Copland: Variations on a Shaker Melody • Beethoven: Symphony No. 3, Mvt. 4 (Excerpt) • Holst: St. Pauls Suite, Mvt. 4 *Program subject to change - 3 - Concert Preparation Let's Get Ready! Your class is coming to Roy Thomson Hall to see and hear the Toronto Symphony Orchestra! Here are some suggestions of what to do before, during, and after the performance.
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Joseph Adam St
X ST. JAMES CATHEDRAL X SEATTLE X 24 APRIL 2020 X 6:30 PM X MUSICAL PRAYER Joseph Adam St. James Cathedral Director of Music & Cathedral Organist Resident Organist, Seattle Symphony Artist in Residence in Organ, the University of Washington School of Music Scherzo, op. 2 Maurice Duruflé 1902–1986 Once little-known except amongst organists, Maurice Duruflé has gained a new audience in recent years by increasingly frequent performances of his Requiem. Duruflé was exceedingly self-critical as a composer, and left behind only about thirteen completed works, most for the organ. The Scherzo was composed in 1924 as Duruflé was completing his studies at the Paris Conservatoire. The introduc- tion presents both the main theme and the accompanimental figures; these are developed throughout the work in an increasingly fervent manner, capped by a calm and reflective restatement of the theme. from Symphony No. 5 in F Minor, op. 42 Charles-Marie Widor Allegro cantabile 1844–1937 Widor’s Symphony No. 5 was written in 1878, and was inspired by the new Cavaillé-Coll organ for the Palais du Trocadéro in Paris, located directly across the Seine from the widely-disliked novelty of the Paris Exhibition, the “eyesore” known as the Eiffel Tower. Widor gave the first performance of the completed symphony on October 19, 1879. Since that performance, it has remained Widor’s mostly widely known and performed composition; the closing Toccata, along with Bach’s Toccata and Fugue in D Minor, is one of the most recognized works in the entire organ repertory. The Fifth Symphony was Widor’s favor- ite amongst his ten symphonies; he performed it often, and recorded selected movements in 1930 (still vigorous at the age of 86!).
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The Double Bass*
OpenStax-CNX module: m14624 1 The Double Bass* Catherine Schmidt-Jones This work is produced by OpenStax-CNX and licensed under the Creative Commons Attribution License 3.0 Abstract A brief introduction to the largest, lowest-sounding stringed instrument of the orchestra. 1 Introduction The double bass, often called the string bass or upright bass, is the largest, lowest-sounding instrument in the string section of the orchestra. Like its close relatives in that section, the violin, viola, and cello, it is classied as a chordophone. 2 The Instrument Like the other orchestral strings, the double bass has four strings stretched over an unfretted neck and a hollow wooden body. The body of the instrument resonates with and amplies the sound of the strings, which would otherwise be too soft to be heard in a concert situation. To play this large instrument, the bassist must either sit on a tall stool or stand. The bass rests on an adjustable peg on the oor. The four strings of a violin, (or viola or cello) are tuned in fths; in other words, each string is tuned a perfect fth from the previous string. The strings of the double bass are tuned in fourths, to reduce the stretch that the left hand must make to get from one note to the next. Even so, with its large size and long, heavy strings, the double bass is a very physically demanding instrument to play. note: A small but vocal minority of bass players prefers to tune the instrument in fths, CGDA instead of EADG.
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EARLY LISTENER's GUIDE Strings
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Some Aspects of the French Organ Symphony, Culminating in the Symphonie-Passion of Marcel Dupre, Together with Three Recitals Of
AIO.' SOME ASPECTS OF THE FRENCH ORGAN SYMPHONY, CULMINATING IN THE SYMPHONIE-PASSION OF MARCEL DUPRE, TOGETHER WITH THREE RECITALS OF SELECTED WORKS OF D. BUXTEHUDE, J. S. BACH, N. DELLO JOIO, P. HINDEMITH, S. KARG-ELERT, J. LANGLAIS, W. LATHAM, F. LISZT, N. LOCKWOOD, F. MARTIN, D. PINKHAM, L. SOWERBY, AND L. VIERNE DISSERTATION Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of Doctor of Musical Arts By Patricia June Kean, B. M., M. M. Denton, Texas August, 1973 1973 PATRICIA JUNE F'ORMAN KEAN ALL RIGHTS RESERVED Kean, Patricia June, Some Aspects of the French Organ Symphony, Culminating in the Symphonie-Passion of Marcel Dupre, Together With Three Recitals of Selected Works of D. Buxtehude, J. S. Bach, N. Dello Joio, P. Hindemith, S. Karg-Elert, J. Langlais, W. Latham, F. List, N. Lockwood, F. Martin, D. Pinkham, L. Sowerby, and L. Vierne. Doctor of Musical Arts (Organ Performance), August, 1973, pp. 31, bibliography, 33 titles. The lecture recital was given July 10, 1973. The Symphonie-Passion by Marcel Dupre was performed following a lecture on various factors that influenced the development of the organ symphony in France. In addition to the lecture recital, three other public recitals were performed, including solo compositions for the organ and three chamber works for organ and instruments. The first solo recital, including works of J. S. Bach, P. Hindemith, L. Sowerby, and L. Vierne, was performed on June 4, 1969. On April 17, 1970 the second solo recital was performed.
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