DOCSLIB.ORG

Qt0kq380m0 Nosplash 77C04387f55702bbd356c355c35d4b1a.Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Qt0kq380m0 Nosplash 77C04387f55702bbd356c355c35d4b1a.Pdf Hlynur A. Vilmarsson bd for orchestra Instrumentation: 3 Flutes* (Optional: 3rd plays Bass Flute) 3 Oboes* 2 Clarinets in B* Bass Clarinet in B 2 Bassoons Double Bassoon 4 Horns in F 3 Trumpets in C 2 Trombones Bass Trombone Tuba 4 Percussion** Piano Harp Strings *Flutes, Oboes and Clarinets in B also play Harmonic Tubes (8x). (This can be variety of ethnic overtone flutes and/or PVC plastic tubes) **Bass drum, 2x Bongos, 2x Tom tom, Tam tam, Gong (C), 4x Small gongs (laid flat),Thundersheet, Piatti, Cymbal, Small Cymbal, 2x Almglocken, 2x Log drums, Lion´s Roar, Spring Drum, Waldteufel, Guiro, Sand paper block, Triangle, Wine glass, 4+2 Tubulum (big PVC plastic pipes), 4x Harmonic Tubes (PVC corrugated flexible plastic hose/tube), Marimba bar (or lowest note on marimba), Timpani. Duration ca. 12 min. Score in C. Commissioned by Ilan Volkov and the Iceland Symphony Orchestra. Premiered at the Kennedy Center, 4. march 2013. The work is dedicated to Ilan Volkov. Performance notes Woodwinds Multiphonics: pick any, but use the same one within each section (usually 4 or 8 bars). When mouthpiece or reed is removed, play the instrument (not mouthpiece/reed). Harmonic gliss., is playing the harmonic series (from given fundamental, legato). Brass Harmonic gliss: play the harmonic series (from given fundamental, legato). (natural harmonics, not adjusted to equal temperament). Trumpets and trombones, mutes: straight, harmon with stem, plunger and practice mute (trumpet 1). Percussion Tubulum: Big PVC plastic pipes. Random notes. Flat (“pingpong”) mallets. Harmonic Tube: PVC corrugated flexible plastic hose/tube. Random length. Material and sound is similar to whirly tube, but the tube has smaller diameter. Blow into instrument not swing in a circle (like with whirly tubes). The end of the harmonic tube needs to be put into mouth for playing. Flute or trumpet blowing techniques do not work. Outcome should be harmonic. When dynamic is p the harmonic should be static and in lower register. Piano Notes CC, C, G, c, g: Prepared with rubber (pencil eraser f.ex.). Bell-like sound, not distinctive note. Bowed string: try to bow strings in measures 2-48. Can be done using f.ex. nylon sring (with a lot of rosin) or make string/bow from violin/cello bowhairs (w. rosin). Sustain pedal down. Sound should be very soft and sustained. No attack. Harp Try to sustain notes in measures 13-59, with f.ex ebow. Sound should be soft and sustained. No attack. Also needed for harp part: drumstick and guitar pick. Strings “Bow on bridge”: white noise type of sound, no pitch/tone. "Vertical" bowing (bow in same direction as string). Unpitched: The bow is held normally but starts close to bridge and moves down fingerboard (and then back). Put some pressure on strings, not “windy” sound. Final chord, measures 235-242: possible to fine-tune the chord by listening to harmonics 7, 11 and 13 from double bass (C string). ! 1 = 84 C bd Flute I-III ² ; 4 ¼ # 4 a a a a Oboe I-III ¼ 4 ¼ # 4 a a a a Clarinet I-II ¼ 4 ¼ # 4 a a a a Bass Clarinet ¼ $ 4 ¼ 4 a a a a Bassoon I-II ¼ ¼ $ 4 a a a a Double Bassoon¼ ˆ 4 d d d ¼< 4 a c b c b c b tI tI tI Horn I-IV 'Ç Ç Ç ; 4 ¼<# 4 a a a a Trumpet I-III ; 4 ¼ # 4 a a a a Trombone I-II ¼ $ 4 ¼ 4 a a a a Bass Trombone ¼ $ 4 ¼ 4 a a a a Tuba ¼ $ 4 a a a a ¼< 4 Bass Drum Percussion 1 ; 4 a A A A ¼ ' (continue trill) Percussion 2 ¼ ¡ääääääääääääääääääääääääääääääTam Tam ¼ 4 a A A A Percussion 3 ¼ ‘ ¼ 4 a a a a Percussion 4 ¼ 4 ¼< 4 a Bow string with nylona string. a a Piano $ 4 a Ð A A A Harp ´ $ 4 a a a a Violin I ; 4 ¼ # 4 a a a a Violin II ¼ 4 ¼ # 4 a Bow on bridge. a a a Viola ¼ 4 ¼ ‚ 4 a Bow} on tail piece. } } Cello ¼ ¼ $ 4 a } } } ¼ ´ 11h, sul C. Double Bass ¼ ! AÉ AÉ AÉ AÉ ¼ $ 4 ¼< ' - 1 - ! 5 = 80 = 84 C C Fl. ; ¼ # a a a a Ob. ¼ ¼ # a a a a Cl. ¼ ¼ # a a a a Bcl. ¼ ¼ $ a a a a ¼ Bsn. ¼ ¼ $ a a a a Dbsn. ¼ ¼ ˆ d c d c b d c d c d c d c d c ¼< I I I I I I I Hn. t t t t t t t ; Ç Ç Ç Ç Ç Ç Ç ¼<# a a a a Trp. ; ¼ # a a a a Trbn. ¼ $ ¼ a a Slap Tounge, lowesta possible note. a Btrbn.¼ ¼ $ a a c dÇ b a Lowest possible note. uJ Tb. ¼ ¼ $ d d ¼< a b uI c a b uI c Perc. 1 ' ; | | b | | | b | ¼ Perc. 2¼ A A A A ¼ Gong, low (C) Perc. 3¼ A a a b | ¼ Timpani (superball mallet) Perc. 4¼ ‘ ¼< a a c dÇ ZN b a Pno. ' $ Hp. A A A A $ a Bow on bridge. a a a Vl. I ; ¼ # a Bow} on bridge. } a Vl. II ¼ ¼ # a } } a Vla. ¼ ¼ ‚ } } } } Vc. ¼ ¼ $ } } } } ¼ ´ Db. ¼ AÉ ! AÉ AÉ ¼ $ ¼< a - 2 - ! 9 = 80 C Fl. ; ¼ # a a a a Ob. ¼ ¼ # a a a a Cl. ¼ ¼ # a a a a Bcl. ¼ ¼ $ a a a a Bsn. ¼ ¼ $ a a a a Dbsn. ¼ ¼ ˆ d c d c a a a ¼< I I tÇ tÇ Hn. ; ¼<# a a a a Trp. ; ¼ # a a a a Trbn. ¼ $ ¼ a a a a Btrbn.¼ ¼ $ a a a a Tb. ¼ ¼ $ b d c a a a ¼< uI Rub with superball mallet Perc. 1 ; | | b | A b | Rub with superball mallet Perc. 2¼ ¼ ääääääääääääääääääää A a A Rub with superball mallet a ¼ Perc. 3¼ ¼ a a b | | Perc. 4¼ ¼< a a a a Pno. $ a a a Hp. A $ a a a a Vl. I ; ¼ # a a a a Vl. II ¼ ¼ # a a a a Vla. ¼ ¼ ‚ } } a a Vc. ¼ ¼ $ } } } a ¼ Rub with superball mallet on body Db. AÉ ¼ $ ¼< a a } - 3 - ! 13 = 84 C Fl. ; ¼ # a a a a Ob. ¼ ¼ # a a a a Cl. ¼ ¼ # a a a a Bcl. ¼ $ ¼ a a a a Bsn. ¼ ¼ $ a a a a Dbsn. ¼ ˆ d ¼< a a a b c -1/4tone (49cent).I 11th harmonic. tÇ Hn. ; a a a ¼<# (harmonic!|Ç gliss.) N Trp. ' ; ¼ # a a a a Trbn. ¼ $ ¼ a a a Slapa Tounge Btrbn. ¼ $ ¼ a a a b e d c Tb. ¼ JN $ a a a b d c ¼< ord.uI Perc. 1 ; A | b a b | ¼ Perc. 2 ¡ äääääääääääääää ¼ A A a Aord. Perc. 3 ¼ ¼ a A a a Perc. 4 ¼ ¼ ¼< a (bowed) a a a Pno. $ a Ebow A A A Hp. µ $ A A A A Vl. I ; µ ¼ # a a a a Vl. II ¼ ¼ # a a a a Vla. ¼ ¼ ‚ a a a Bow on tail piece a Vc. ¼ $ ¼ a a a Bow} on tail piece Db. ¼ $ ¼< b } } a } - 4 - ! 17 = 80 C Fl. ; # a a a a Ob. ¼ ¼ # a a a a Cl. ¼ ¼ # a a a a Bcl. ¼ ¼ $ a a a a Bsn. ¼ ¼ $ a a a a ¼ Dbsn. ¼ ˆ b d c d c d c b d c d c d c ¼< I I I I I I Hn. tÇ tÇ tÇ tÇ tÇ tÇ ; ¼<# A a a a Trp. ; ¼ # a a a a Trbn. ¼ ¼ $ a a a a Btrbn.¼ ¼ $ b d c a a b d c Tb. ¼ IN IN ¼ $ d d d d ¼< b uI c b uI c b uI c b uI c Perc. 1 ; b | | | b | | | ¼ Perc. 2¼ ääääääääääääääääääää A A A a ¼ ord. Perc. 3¼ ¼ a a b | a Perc. 4¼ ‘ ¼< b d YN c a a a Pno. $ a a Hp. A A $ a a A A Bow on bridge. Vl. I ; } a } a ¼ # Bow on bridge. Vl. II ¼ ¼ } a } a # Bow on tail piece Vla. ¼ ¼ ‚ } a } a ¼ Vc. ¼ ¼ $ } } } } Db. ¼ ¼ $ ¼< } } } } - 5 - ! 21 Tube, lower harmonic. Fl. ; # a a } } b a } } b a ¼ Tube,' lower harmonic Ob. ¼ ¼ # a a } } b a } } b a ¼ Tube,' lower harmonic Cl. ¼ ¼ # a a } } b a } } b a Bcl. ¼ ' ¼ $ a a a a a a a a Bsn. ¼ $ ¼ a a a a a a a a Dbsn. ¼ ˆ ¼< a a a a a a a a Hn. ; ¼<# a a a a a a a a Trp. ; ¼ # a a a a a a lowest possiblea note a Trbn. ¼ $ ¼ a a a a a a } } ¼ ‘lowest possible note Btrbn. ¼ $ ¼ a a a a a a } } ¼ ‘lowest possible note Tb. ¼ $ a a a a a a ¼< Superball mallet } } Perc. 1 ‘ ; a b | A a A a A a Superball mallet Perc. 2¼ ¼ a a a A a A a a ¼ Thundersheet. Superball mallet Perc. 3¼ a a b | | b b | | b a a ¼ Timpani, rub with superball mallet Perc. 4¼ ¼< a A a A A a a A Pno. $ a a a a a a a a Hp. $ a a Bow on taila piece a a a a a Vl. I ; ¼ # a a Bow} on tail piece a a } a a Vl. II ¼ ¼ # a a } a a } a a Vla. ¼ ¼ ‚ a a a a a a a a Vc. ¼ $ ¼ } } a superballa mallet on bodya a a a ¼ Db. ¼ $ ¼< } } } b b } } } } a - 6 - ! 29 = 76 C Fl. ; ¼ # a a a a Ob. ¼ ¼ # a a a a Cl. ¼ ¼ # a a a a Bcl. ¼ ¼ $ a a a a Bsn. ¼ ¼ $ a a a a Dbsn. ¼ ¼ ˆ ¼< Air noise a a a a Hn. ; ¼<# AirQ noise a Q a Trp. ; ¼ # Q Air noise a Q a Trbn. ¼ $ ¼ a AirQ noise a Q Btrbn.¼ $ ¼ a AirQ noise a Q Tb.
Load more

Recommended publications
  • Creative Musical Instrument Design
    CREATIVE MUSICAL INSTRUMENT DESIGN: A report on experimental approaches, unusual creations and new concepts in the world of musical and sound instruments. A thesis submitted to the SAE Institute, London, in fulfillment of the requirements for the degree in Recording Arts, awarded by Middlesex University. Author: Andrea Santini Student: 42792 Intake: RAD0503X Project Tutors: Christopher Hayne Darren Gash London, August 2004 c r e a t i v e m u s i c a l i n s t r u m e n t d e s i g n Abstract The following document presents the results of an investigation into the current reality of creative musical-instrument and sound-instrument design. The focus of this research is on acoustic and electro-acoustic devices only, sound sources involving oscillators, synthesis and sampling, be it analogue or digital, have therefore been excluded. Also, even though occasional reference will be made to historical and ‘ethnical’ instruments, they will not be treated as a core issue, the attention being primarily centered on contemporary creations. The study includes an overview of the most relevant “sonic creations” encountered in the research and chosen as representative examples to discuss the following aspects: o Interaction between body and instrument. o Sonic Space o Tuning and layout of pitches o Shapes, materials and elements o Sonic objects, noise and inharmonic sources o Aesthetics: sound instruments as art objects o Amplification and transducer technologies These where chosen to provide some degree of methodology during the research process and a coherent framework to the analysis of a subject which, due to its nature and to the scarcity of relevant studies, has unclear boundaries and a variety of possible interdisciplinary connections.
    [Show full text]
  • Chapter 21 Musical Instruments
    Lecture 22 Chapter 21 Musical Instruments CR/NC Deadline Oct. 19 15-Oct-10 Musical Instruments Now that we understand some of the physics of sound, let’s analyze how musical sound is produced by different types of musical instruments. 15-Oct-10 Physics 1 (Garcia) SJSU String Instruments Standing wave on the vibrating string causes forced oscillation of the sounding board. Frequency for a string depends on: • Length of string • Thickness and composition • Tension in the string Modern piano has many long, Loudness depends on: massive steel • Amplitude of oscillation strings under • Size of sounding board high tension • Flexibility of sounding (hundreds of pounds) on a board large sounding 15-Oct-10 board. Standing Waves; Resonance Frequencies of standing waves on a particular string are called resonant frequencies. The lowest resonant frequency f1 is referred to as the fundamental and the higher resonant frequencies fn th = nf1 as the n harmonics. Standing Waves of Guitar Strings Thin string In order for different strings to have different fundamental frequencies, they must differ in length and/or mass/unit length. A guitar has strings that are all the same length, but the mass/unit length varies. We change the effective length of a string by pressing it against the Thick string fingerboard. Standing Waves - Piano In a piano, the strings vary in both length and density. This gives the sound box of a grand piano its characteristic shape. Once the length and material of the string is decided, individual strings may be tuned to the exact desired frequencies by changing the tension.
    [Show full text]
  • Aquillen › Phy103 › Lectures › I Flute.Pdf Flute Physics
    Flute Physics 1 Normal modes of a column No pressure variation, large motions No motions, large pressure variations 2 Is the flute -an open column -a closed column or -one end open and other end closed? How can we find out? 3 Experiments on the open pipe • Blocking the end • Half blocking the end • How are high notes made easier to play? • Harmonics of Flute Frequency f is speed of sound c divided by wavelength λ • Fingering and pitch change. Effectively shortening the pipe. • Comparing the flute and the recorder lengths 4 Oscillating Air Stream 5 Pitch What changes the pitch? -Speed? -Distance from mouth to edge? -Covering of hole? 6 Blowing • Breathy sound: How do you get rid of it? • High notes vs low notes: What does the flutist do to change octave? (whirly tube?) • Vibrato: How does it change the sound? (dynamics, timbre, pitch) How does the flutist do it? 7 Thumb hole Favors the higher overtones allowing the flutist to play an octave higher without over-blowing. However the thumb hole is not in the correct place for every note in the octave. fingering changes from octave to octave 8 Dynamics • As the vibration becomes larger, more harmonics appear. Loudness in most instruments is accompanied by a change in strength of overtones. • The flute does not have a big dynamic range. Why? • How do flutists compensate? 9 Perceptual fusion and voicing • Voices stand out if their overtones move together. If overtones don’t move in pitch then the sound does not sound like a voice. Tones with no variation in pitch sound dull.
    [Show full text]
  • Freier Download BA 101 Als
    BAD AL CHE MY 101 ›Mißverständnis‹ heißt die Rhythmik, mit welcher die allein wahre Wirklichkeit sich ins Gespräch drängt. Walter Benjamin Nur die Phantasielosn flüchtn in die Realität. Arno Schmidt Nicholas Baker - Der Anthologist Julian Barnes - Arthur & George Pío Baroja - Shanti Andía, der Ruhelose Miquel De Palol - Im Garten der sieben Dämmerungen Agnès Desarthe - Ein Geheimnis ohne Belang Tibor Fischer - Ich raube, also bin ich [= The Thought Gang] Dashiell Hammett - Der schwarze Hut Maarten t' Hart - Das Wüten der ganzen Welt James Joyce - Ein Porträt des Künstlers als junger Mann [again] Fritz Senn - Nicht nur Nichts gegen Joyce Volker Kutscher - Märzgefallene Jörn Leonhard - Die Büchse der Pandora: Geschichte des Ersten Weltkriegs Marc-Antoine Mathieu - 3 Sekunden Robert B. Parker - Tote träumen nicht Ernst Penzoldt - Süße Bitternis Josep Pla - Der Untergang der Cala Galiota Richard Powers - Der Klang der Zeit Gabriele Tergit - Käsebier erobert den Kurfürstendamm Johann Karl Wezel - Kakerlak Don Winslow - Kings of Cool P. G. Wodehouse - Sein und Schwein Arno Schmidt - Stürenburg-Geschichten; Nebenmond und rosa Augen; Kühe in Halbtrauer; Aus julia nischen Tagen; Das Leptothe=Herz; Julia, oder die Gemälde [again & again]; Der Briefwechsel mit Hans Wollschläger Ernst Bloch - Urfarbe des Traums (1926). Reprint in: Jahrbuch der Karl-May-Gesellschaft 1971 Roland Burmeister - Die MusikStellen bei Arno Schmidt Jürgen Hahn - »Da klebte ich zwischen Himmel und Erde« Betrachtungen zu Karl Mays Alterswerk. In: Jb-KMG 1992; Old Shatterhands Berceuse oder die Ballade vom dozierenden Säugling in Rondoform. Ein Versuch über die Tücken der Banalität. In: Jb-KMG 1995; ›Verschroben und privat‹ - Panoptikum und Schamanenspiel. Karl Mays Roman ›Ardistan und Dschinnistan‹ als groteskes Modell kaleidoskopischer Permutation des Zeitgeistes oder eines ›Dinosauriers in schwieriger Zeit‹.
    [Show full text]
  • Hornbostel–Sachs
    Hornbostel–Sachs Hornbostel–Sachs or Sachs–Hornbostel is a system of musical instrument classification devised by Erich Moritz von Hornbostel and Curt Sachs, and first published in the Zeitschrift für Ethnologie in 1914.[1] An English translation was published in the Galpin Society Journal in 1961. It is the most widely used system for classifying musical instruments by ethnomusicologists and organologists (people who study musical instruments). The system was updated in 2011 as part of the work of the Musical Instrument Museums Online (MIMO) Project.[2] Hornbostel and Sachs based their ideas on a system devised in the late 19th century by Victor-Charles Mahillon, the curator of musical instruments at Brussels Conservatory. Mahillon divided instruments into four broad categories according to the nature of the sound-producing material: an air column; string; membrane; and body of the instrument. From this basis, Hornbostel and Sachs expanded Mahillon's system to make it possible to classify any instrument from any culture. Formally, the Hornbostel–Sachs is modeled on the Dewey Decimal Classification for libraries. It has five top-level classifications, with several levels below those, adding up to over 300 basic categories in all. The top five levels of the scheme are as follows: Contents Idiophones (1) Struck idiophones (11) Directly struck idiophones (111) Indirectly struck idiophones (112) Plucked idiophones (12) In the form of a frame (121) In the form of a comb (122) Friction idiophones (13) Friction sticks (131) Friction plaques
    [Show full text]
  • Freier Download BA 105 Als
    BAD 105 ALCHEMY [B]eliefs about the essential goodness or beauty of the world are fundamentally paper-thin bullshit. Zadie Smith So then the big moral question is: How do I live with that terrible truth? I keep thinking of Robert Stone making the distinction between the word sublime and the word beautiful. He described being in a battle as sublime. George Saunders Alle Musik der Welt sagt alle Dinge der Welt - ich meine natürlich des Universums -, und das ist alles, was es überhaupt gibt. Es hebt sich alles gegenseitig auf. Die Posaune wird erschallen! Tut sie. Ihr Berge, brecht in Jubel aus. Tun sie. Joanna Russ Lukas Bärfuss - Hagard Dietmar Dath - Niegeschichte Alfred Döblin - Wallenstein William Gibson - Virtuelles Licht André Gide - Sämtliche Erzählungen M. John Harrison - Nova Swing Kazuo Ishiguro - Als wir Waisen waren Christian Kracht - Die Toten Hans Lebert - Der Feuerkreis Klaus Mann - Mephisto Thomas Mann - Bekenntnisse des Hochstaplers Felix Krull Robert Menasse - Die Hauptstadt Orhan Pamuk - Rot ist mein Name Christiane Rochefort - Frühling für Anfänger Joanna Russ - Wir, die wir geweiht sind... George Saunders - Lincoln in Bardo Judith Schalansky - Der Hals der Giraffe João Silvério Trevisan - Ana in Venedig W. Somerset Maugham - Um dieser Tränen Willen. Erzählungen Recommended: Ted Gioia -> http://www.thenewcanon.com/ -> http://www.conceptualfiction.com/ -> http://fractiousfiction.com/ -> http://www.postmodernmystery.com/ 2 »Potlach« * Es war 1969 oder 1970 als wir, noch halb Kinder, gelegentlich im Potlach in der Elefanten- gasse vorbeischauen „durften“. Zu einer Zeit in der einige Würzburger Lokale Langhaarige nicht bedienten, schnupperten wir im Proberaum der einheimischen Band BLUES CAMPAIGN an der Welt von Sex 'n' Drugs 'n' Rock'n Roll.
    [Show full text]
  • The PAS Percussion Compendium
    The PAS Percussion Compendium Rebecca McDaniel and Dan McGuire, Editors Volume I, 2016 Table of Contents Part I Why I put this resource together Cultivating Culture How to prepare a score Part II A Ceiling Full of Stars Blake Tyson Alarm! Brian Blume Barnstormer Chris Crockarell Bread & Butter Andy Smith Catching Shadows Ivan Trevino Clapping Music Steve Reich Compound Autonomy Jim Casella Concerto for Vibraphone and Percussion Ensemble Ney Rosaruo Drumming Steve Reich Drums of Winter John Luther Adams Excalibur Chris Brooks 4/4 for Four Anthony Cirone Inuksuit John Luther Adams Ionisation Edgard Varèse Katie’s Bossa Chris Crockarell Ku-Ka-Ilimoku Christopher Rouse Marimba Spiritual Minoru Miki Metric Lips Bela Fleck/arr. David Steinquest Music for Pieces of Wood Steve Reich Ogoun Badagris Christopher Rouse Okho Iannis Xenakis Omphalo Centric Lecture Nigel Westlake Scenes From the Woods Brian Blume Sculpture in Wood Rudiger Pawassar Sharpened Stick Brett Dietz Six Marimbas Steve Reich Slopes Paul Rennick Stained Glass David Gillingham Stormbreak Jim Casella Technology Jim Casella Terra Cotta Warriors James Campbell Trio Per Uno Nebojša Živković Why I Put this Resource Together I remember as a young band director simply not having a clue. I got through my first marching season with a modicum of success when suddenly it hit me: What were we going to do in the spring semester? I was very fortunate to work with two very strong band directors at the time, and when I asked them this question they pointed me towards a wonderful resource for concert band: Teaching Music Through Performance in Band.
    [Show full text]
  • Experimental Musical Instruments Synopses of Articles
    EXPERIMENTAL MUSICAL INSTRUMENTS SYNOPSES OF ARTICLES FOR THE COMPLETE SET OF 70 ISSUES, JUNE 1985 THROUGH JUNE 1999 This file contains descriptions of the contents of each article that appeared in the Experimental Musical Instruments journal. This is the best place to search for articles on or references to par- ticular topics. To search this file, use Adobe Acrobat’s search function: Click “edit” in the upper left of the screen, then “find” in the drop-down menu. In the space provided, type in the word or words you wish to search for. Hit return or click the “find” button to intiate the search. To jump to another page in this file: Click on the bookmarks tab on the left of your screen to open the bookmarks pane. There you can click on one of the bookmarks to jump to the selected location. To open a particular article: When you’ve found an article you want to see, note the issue number and page number for the article. If the issue is from Volumes I through VII, make sure that CD #1 is in your CD drive. If from VIII through XIV, make sure that CD #2 is in your drive. Once you’ve got the correct CD, you can open the article in the usual way: click on the file menu in the upper left of your screen, click “open,” click the CD drive where the disk is, and then click on the file name for the issue you want. That will take you to front page of the issue, and you can scroll through to the relevent page.
    [Show full text]