DOCSLIB.ORG

ROSARY 3 LE ROSAIRE DER ROSENKRANZ ROBERT CAMERON ROGERS Fre,,,,!> Version by Mme

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
ROSARY 3 LE ROSAIRE DER ROSENKRANZ ROBERT CAMERON ROGERS Fre,,,,!> Version by Mme THE RO SARY BY ETHELBERT ,NEVIN WORDS BY ROBERT CAMERON ROGERS VOCAL ED ITIONS INSTRUMENTAL ARRANGEMENTS Song with Pi ano Accompaniment (Six Keys) P iano Solo, in "Book of 7 Melodies" 1.2 5 High Sop.or Ten.~nF Piano Solo, arr, by B. Whelpley .50 Pi ano Solo, err. by Mar achal-Lcepke (sirn- ~~ ~ plified) .35 Piano Four-Hands, ar r. by Brower-Whelpley .60 Organ Solo, arr, by R. Goes-Custard .50 Ha rp (with organ ad lib.), ar r. by A. F .P into .60 Violin and Piano, arr. by Kreisler .60 Violin and P iano, arr. by G. Strube .50 Violin and P iano (simplified), arr . by P. T h. Miersch .50 Violoncello and Pi ano .50 ,AHa or Bass,fnBI. Violin, 'Cello and Pi ano, an. by H .Riesen­ feld, in HE. M. Co. T rio Album," Vol. l~"~ IV 2.00 Cornet and Pi ano, arr. by H. G. Blais dell 50 C Melody Saxophone and Piano. T rans. b y . ] . Gurewich 60 -Edition with English, French & German E!:> (Alto) Saxophone and Piano. T ran s. by . words (6 Keys) .50 J. Gurewich 60 Edit ion with Frenc h & E nglish words (F, Orchestra (Cornet Solo). arr. by G. Strube '80 D., C, B'j .50 Song Orchestr at ion (Eb, D [" or Bb) '80 E dit ion with German & English word s (EJ" 1\tIilitary Band (Corn et Solo) 1'00 D., C, B.j .50 Ukulele, arr, by C. S.De Lana '40 Ed ition wit h Italian & English word s (DJ,) .50 Ed ition with Spanish & English words Ste el G':iitar, arr: by C. S. De Lana :40 (6 Keys) .50 Man dolin and Piano 50 Ed itio n with D anish & English words (D!:» .50 2 Mandolins and Piano '60 Ed itio n with R ussian & En glish words (Db) .50 Ma ndolin and Guitar ' 35 2 Mandolins and Guitar .50 Ed ition with Esperant o & En g. word s (D lJ ) .50 Ma ndolin Orc hestr a, arr. by H . F. Odell: . Ed itio n with Violin obb ligato (Eb, C) .60 Song with Gui t ar Accomp animent .40 1st Mandolin .30 D uet for Sop. and Alt o, in E" .50 2nd Mandolin .20 Duet for Sop. and T en., in EJ, .50 3rd Mandolin .20 Duet for Me z, Sop. and Bar., in C .50 T enor-Mandala .20 Quartet for Mixed Voices .15 Mando-'Cello .20 Quartet for Men's Voices .15 Mando-Bass .20 Quartet for Wo men's Voices . 15 Banjo Obbligato .20 Guitar Accompaniment .20 THE HO LY HO UR-(E dition wit h Sacred Piano Accompaniment words for Church use) (E I1 , C, B") .45 .40 THE HO LY HO UR-Quar tet for Mixed Va••15 Flute .20 Violonc ello .20 THE HOLY HO UR-Quartet for Men's vs, . 15 T rombone and Piano, arr . by M. Alloo THE HOLY HO UR-Quartet for Women's .50 Voices .15 Guitar Solo .35 Flute and Piano .50 THE BOSTON MUSIC COMPANY: BOSTON:MASSACHUSETTS NEW YORK : G. SCHIRMER, IN C. London .. G. Scltirmer. W. B«lin : Ed. Bou f.!! G. Bock Paris : COJlalla, Ej' Cil. Sydnty : Paling f.!! Co., LId. D.np . U19yri,h! IP/I. by G. Schirma'. &loll Zo-•••13rr>XR'D THE ROSARY 3 LE ROSAIRE DER ROSENKRANZ ROBERT CAMERON ROGERS Fre,,,,!> version by Mme. C. EscRig ETHELBERT NEVIN German version by Carl Engel Lento ed intimo p VOICE • The hours I spent with thee, dear heart, Comme un 1'0 - sai - re son/ pour moi Oft denk' mit Weh _ mut ich zu - ruck ~ I . l '~~ I I .. ! ~q '~ ii · #!t' :f I PIANO < p~ "I . j : ~ ~ .. IIi Ij 'q~ - * ,­ It Are as a string of pearls to me; I co~ntt~m ~- v~r ev - 'ry Les hew - res qui nous u - nis ­ sai e-ntj Tou_ jours j e les ccnnp - te pen - Der hol-den Stun-den,reich an Gluck, Die, strah-lend in der jun- g..n ~ , -....... · l · ~ ~: ~ I\)i jIJ- < ~ ... J -> -I.~ • .~ :;:;:::::: I · · ~ ... * * oco ra . 1":1 . • - . one ~ - part, My ro - sa - ry, my ro - sa - r yl sant a toi, B eall" - - coup trop vite el - - les pas - saient/ . Lie - be Glanz, Den Per - len gleich am Ro - sen - kranz poco raIl. ~ --. L.U.I":I · :?: .-./- .:" ~ ---;::::-... 1 dolce · " ·- · ~ ~ · Cop y 1'1'gll t , 1898 , by G. Sc h-ir-mer, J1'. * Fa,. et l COIl TIt ,.iel B. M. Co. 2701 O~polttado ('olV61'me a 1(1ley d~ R ep" bli c4 Nt.I; i ~· afla e l~ el a ~o 11)12 PIJ " IA e Busi on X u,ic {'omp lfII Y Printed in U. S. A. 4 a te1lljJo ~ mp , . It. Eachhour a pearl,each pearl a pray'r To still a heart IU ab- sence U _ ne pri _ ,m a cha - que Iryain POUy cal - mer man coeur aux a _ Wie sle, so reiht der Stun - den Zahl, Ein lich - ter Kranz,sich je _ des - 0; te1llfJo I · I 4 ~ ,: ~~ ":1 "~-6r.; ! ~ :: : ~~1 mp .1 · . · .... IT ~j - ~ ... IT,;j ~ '~~ r- :6 'fro, motto largnmente • , .. .. .. t. " r r wrung: I t:ll each bead rn - to the end, And there a bois, Jar - rive at"u - si Jus ~ qu.Ja la fil1, Mais la pel1d mal Zur Ket - te von Ge - be - ten fromm- Bis ich zum _______mIotto largamente .>: I"" 0 , i t. ~~ ':6 17 pj" U 11 dolce < .I b~ i- ,, ~ . .: · ---- . ~ '~l =4 = qr 'Xro.~ ~: : 'fro. *-..' (";\ a f!1/I)JO .1';:;- :> (";\ p t. cross IS hung! 0 mem - 0 - ries that bless and It - fI e croix! 0 doux mo - ments si plei"s d'e - Kreu - ze komm'l 1m Geist ent - schwund'- ner Se - lig - a t elll)Jo :> r-. rr. ~ ---.......~_ F- ~ .. ~~ i P quasi arpeggio f ciltrato < ..--:: • ~:;;- -..."., b.. ---::! f · , .. ~ i ' ',dolcissimo' * B. M. Co. 21iJl 5 f\ . -t burnl, ' 0 bar-ren gain and bit - ter loss! mm, A eous tou.jours, ie dais pen - setj . keit Kiiss' ich sie a1l', In stum - mem Leid, ~ ~ ....., ~ r;:;.. ~ ------~ f\ F- .. .. ... '--'" ....-----.. .---... ---- < - patetico - ~ ~ .. ~ i~ .. .. I .. ---:!! t · :l ~ ~=. ~ f ' r ~r , .."•'.,. 11If C1YJSC. f\ sempre , f • I > ~ > , I kfss el ch be"ad, ahd strive at last to learn To kiss the ] 'em - bras - se cha - que grain .J If,S - qt"a la croi x} Tn - chant d'ap - Bis end - lich mir der Schmerz der letz - ten Stund' Drangt, 0 Ge- > > > > . l .. ~ .. q'"iI . --6 m/ ::pre>cresc; > ::>- < f------: t ~ .,J .IIi .;-:::: I 1 -:e r · = ~." =i -- '.to. f poco aceel. ~ • -' ff> 1":'\ Larg o pp 1":'\ , , cross, sweet - heart! to kiss the cross. p relldre en - f in Ii rem - bras - ser. lieb - - - - tern, das Krenz zum Mund. p oco acceJ: - u ~ ~ 1":'\ -- --0 ~ : ~ -ii ~ . ,~ :f 1 ff ""*" < .f pp - ;po 1":'\ ~ . I .,s ~. - ~ i - ;~ ~ ... - '.to. ~ ',' t * H.M.Co. 270t OTHER NOTABLE COMPOSITIONS By ETHELBERT NEVIN "Nevin's songs h ave lyrical contour, lyrical im pulses; they come forward in graceful cu rves lik e waves, and when they reach their desrlnatlon, they rise to their climax and make a beautiful end. • • • If you {eel in a man's work a quality. which you can only define by making an adjective of h is name, th en his wor k h as that individuality without which no genius-however infinite h is paim-could hold his own through the rus h cf tlme, Yes. I think we may call Ethelbert N evin a great composer of great songs." --RUPERT HUQHES-- ----- J'{evin Songs- - - -- --- - J'{evin Piano Pieces--- - SKETCH BOOK (Songe and Piano Piecea) Complete, 1.25 1. Gavotte .50 Deep in a Rose's Glowing Heart 2. Love Song .50 with ace. of piano, violin and 'cello 3. Berceuse .50 High, A; :Medium, G . 60 4. Se renat a .60 with piano acc., same keys .50 S. Valse RhaplO die .60 WATERS CENES Complete , 1.25 1. D ragon Fl y .60 One Spring Morning (Friihlingsmorgen) 2. Ophelia .60 with ace. of Piano, violin and 'cello 3. W ater N ym ph .60 High, Em.; M edium, Dm. (e. & g.) .75 4. Narcissus .60 with piano ace., same keys .75 S. Barcar olle .75 IN ARCAD Y Complete, 1.25 1. A Sh epherd', Tale .60 Doris 2. Shepherds All an d M ai dem Fair .75 with ccc, of pWno, violin and 'cello 3. Lullaby e .60 High, F; M edium, Elt .90 4. T ournament .15 with piano lUC. High, F; M edium D (e. & g.) . 60 MAY I N TUSCANY (Mallia in T ouano) Complete, 1.25 1. Arlecchi no .60 2. Nottur no (in Bccceecto'e Villa) .75 Little Boy Blue 3. Barchetta .60 H igh, Blt,' ,Medium , Alt . 60 4. M isericordia .60 5. II Ru signuolo (I n M y Nelgbbcr'a Gard en) .75 6. La Pastcrena (Montepiano) . 60 At Twilight MELODIES (Tran script ions) Complete , 1.25 High, G; Medium, F .60 1. One SDrin ll Morning 2. At T wUlght J . Tell Me (Diles-moi) 4. The R osa ry 5. Time Enough (R edIe Zeit) 6. T he M erry Lark Time Enough (Rechte Zeit) 1. Ob , That We T wo Wer e },fayingl H igh, B,; Medium, A ,; Luw, G, (e. & g.) .50 EGYPTIAN LOVE SONG .60 A Life Lesson (v'There, little girl, don't cry") --- -Violin and Piano- -- - Blti G H igh, M edium, . 60 Lov e Song .00 Autumn .00 Melody .00 o T hat W e Two Were Maying Habanera .75 with piano ace.
Load more

Recommended publications
  • The Beatles Piano Duets: Intermediate Level Pdf, Epub, Ebook
    THE BEATLES PIANO DUETS: INTERMEDIATE LEVEL PDF, EPUB, EBOOK Beatles | 75 pages | 01 Aug 1998 | Hal Leonard Publishing Corporation | 9780793583386 | English | United States The Beatles Piano Duets: Intermediate Level PDF Book Piano Duet. Composed by Various. Digital Sheet Music. The Beatles for Easy Classical Piano. Taylor Swift for Piano Duet. Close X Tell A Friend. Location: optional. Duet, Pop. The Beatles for Classical Guitar. Arranged by Phillip Keveren. Duet, Pop. If you have any suggestions or comments on the guidelines, please email us. I am a music teacher. Pop, Rock. With Playground, you are able to identify which finger you should be using, as well as an onscreen keyboard that will help you identify the correct keys to play. Solo trombone songbook no accompaniment, softcover. String Duet. You can also listen to your MP3 at any time in your Digital Library. With vocal melody, lyrics, standard notation and chord names. A Thousand Years 1 piano 4 hands. Softcover with CD. Piano Duet Play-Along. Solo Songbook. This name will appear next to your review. By The Beatles. Members Save Big! Published by Alfred Music. Intermediate; Late Intermediate. With vocal melody, piano accompaniment, lyrics, chord names and guitar chord diagrams. Support was perfect solving issues with shipping. The Best of the Beatles - 2nd Edition. We cannot post your review if it violates these guidelines. C Instruments C Instruments. Trumpet - Difficulty: medium Trumpet. Finally, when you've mastered Let It Be, you can record yourself playing it and share it with your friends and family. Best of The Beatles - Trombone. Piano Duet Play-Along Volume 4.
    [Show full text]
  • To a Wild Rose Guitar Solo Sheet Music
    To A Wild Rose Guitar Solo Sheet Music Download to a wild rose guitar solo sheet music pdf now available in our library. We give you 1 pages partial preview of to a wild rose guitar solo sheet music that you can try for free. This music notes has been read 2883 times and last read at 2021-09-24 18:38:29. In order to continue read the entire sheet music of to a wild rose guitar solo you need to signup, download music sheet notes in pdf format also available for offline reading. Instrument: Acoustic Guitar, Classical Guitar, Fingerpicking Guitar, Guitar Solo, Guitar Tablature Ensemble: Mixed Level: Early Intermediate [ READ SHEET MUSIC ] Other Sheet Music My Wild Irish Rose For Guitar With Background Track Jazz Pop Version My Wild Irish Rose For Guitar With Background Track Jazz Pop Version sheet music has been read 3433 times. My wild irish rose for guitar with background track jazz pop version arrangement is for Intermediate level. The music notes has 2 preview and last read at 2021-09-22 23:38:38. [ Read More ] My Wild Irish Rose For Jazz Guitar My Wild Irish Rose For Jazz Guitar sheet music has been read 2971 times. My wild irish rose for jazz guitar arrangement is for Intermediate level. The music notes has 3 preview and last read at 2021-09-24 17:49:26. [ Read More ] To A Wild Rose For Guitar Ensemble 4 Guitars To A Wild Rose For Guitar Ensemble 4 Guitars sheet music has been read 3246 times. To a wild rose for guitar ensemble 4 guitars arrangement is for Intermediate level.
    [Show full text]
  • Building a Blues Solo Across 2 Choruses
    Building a blues solo across 2 choruses The most common length for a blues guitar solo is two choruses (twice round the 12 bars). This lesson looks at some concepts that can be used to build a solo. We’ll use Eric Clapton’s solo on “Tore Down” (from the album “From the Cradle”) to discuss some of the following concepts (but I could have picked any number of great blues solos, which all exhibit similar characteristics): Ø Question and Answer Ø Telling a Story Ø Rhythm Ø Register Ø Climax Ø Rests Ø Dynamics Ø Concise phrases Question and Answer “Call and response” is at the heart of the blues. Playing a phrase and then “answering” it with another phrase is a great way to develop ideas in a coherent manner in any style. Clapton does this throughout the solo, with just about every phrase being “answered”, and some phrases (eg #7) consisting of a question and answer within them. Telling a Story Think of playing licks when improvising as being like introducing characters in a story. You don’t want to introduce too many at one time. Take one idea/character and develop it before adding another. Build on each idea, and have them interact with each other like characters having a conversation. Don’t give everything away right at the beginning, take your time and develop the plot/story/solo. Hear, for example, how Clapton uses Phrase #1 throughout the solo (#7 and #9 are very similar). And also how the solo unfolds in a measured, logical way.
    [Show full text]
  • Harmonic Resources in 1980S Hard Rock and Heavy Metal Music
    HARMONIC RESOURCES IN 1980S HARD ROCK AND HEAVY METAL MUSIC A thesis submitted to the College of the Arts of Kent State University in partial fulfillment of the requirements for the degree of Master of Arts in Music Theory by Erin M. Vaughn December, 2015 Thesis written by Erin M. Vaughn B.M., The University of Akron, 2003 M.A., Kent State University, 2015 Approved by ____________________________________________ Richard O. Devore, Thesis Advisor ____________________________________________ Ralph Lorenz, Director, School of Music _____________________________________________ John R. Crawford-Spinelli, Dean, College of the Arts ii Table of Contents LIST OF FIGURES ............................................................................................................................... v CHAPTER I........................................................................................................................................ 1 INTRODUCTION ........................................................................................................................... 1 GOALS AND METHODS ................................................................................................................ 3 REVIEW OF RELATED LITERATURE............................................................................................... 5 CHAPTER II..................................................................................................................................... 36 ANALYSIS OF “MASTER OF PUPPETS” ......................................................................................
    [Show full text]
  • Grandview Graduation Performances Archive
    Grandview Graduation Performances Archive 2020 Graduation Speech-“We did it” “Landslide” by Stevie Nicks (Vocal Solo) 2019 A Graduation Skit-Comedy Sketch “No Such Thing” by John Mayer (Guitar/Vocal Duet) “See You Again” by Wiz Khalifa and Charlie Puth (Instrumental Duet) “Journey to the Past” by Stephen Flaherty (Vocal Solo) “I Lived a Good Life Gone” by One Republic and Phillip Phillips (Vocal Octet) 2018 Graduation Speech-“A Poem” “You Will Be Found” by Benj Pasek and Justin Paul (Vocal Octet) “Bring It On Home To Me” by Sam Cooke (Instrumental Sextet) “This Is Me” by Benj Pasek and Justin Paul (Vocal Solo w/support from Senior Choir) 2017 Adoration for Violin and Piano Duet by Felix Borowski Graduation Speech-“Single” “Fools Who Dream” by Justin Hurwitz and Benj Pasek (Vocal Duet) Original Number-Down to the Wire for Piano and Saxphone “From the First Hello to the Last Goodbye” by Johnny Burke (Vocal Octet) 2016 “As If We Never Said Goodbye” by Don Black, Christopher Hampton & Andrew Lloyd Weber (Solo with Piano accompaniment) Rondo from Sonata No. 3 for Violin and Piano Duet by Ludwig van Beethoven (Violin and Piano) Graduation Speech –Pair Graduation Speech-Trio “I Lived” Ryan Tedder and Noel Zancanella Orchestra Octet and 2 Vocalists) 2015 Clarinet and Bassoon Duet 3 by Ludwig van Beethoven “My Wish” by Steele and Robson “Corner of the Sky” from Pippin by Stephen Schwartz 2014 Even if your Heart Breaks by Hoge and Paslay Never Give up, Never Surrender (a speech) by Malik Williams Meditation from Thais by Massenet (Violin and piano) Take Chances by Nelson 2013 Come Fly with Me (Vocalist and piano) Moderato by Kummer (Wood wind Duet) Homeward Bound (Vocalist and Piano) Live your Life by Yuna (Vocalist and guitar accompaniment) 2012 You Raise Me Up (Violins/Cello Trio) Who I’d Be (Male Vocal Solo, Recorded Accompaniment) 1 Grandview Graduation Performances Archive Crazy Dreams (Female/Male Vocal, Guitar Accompaniment) Transcendental etude No.
    [Show full text]
  • Compound AABA Form and Style Distinction in Heavy Metal *
    Compound AABA Form and Style Distinction in Heavy Metal * Stephen S. Hudson NOTE: The examples for the (text-only) PDF version of this item are available online at: hps://www.mtosmt.org/issues/mto.21.27.1/mto.21.27.1.hudson.php KEYWORDS: Heavy Metal, Formenlehre, Form Perception, Embodied Cognition, Corpus Study, Musical Meaning, Genre ABSTRACT: This article presents a new framework for analyzing compound AABA form in heavy metal music, inspired by normative theories of form in the Formenlehre tradition. A corpus study shows that a particular riff-based version of compound AABA, with a specific style of buildup intro (Aas 2015) and other characteristic features, is normative in mainstream styles of the metal genre. Within this norm, individual artists have their own strategies (Meyer 1989) for manifesting compound AABA form. These strategies afford stylistic distinctions between bands, so that differences in form can be said to signify aesthetic posing or social positioning—a different kind of signification than the programmatic or semantic communication that has been the focus of most existing music theory research in areas like topic theory or musical semiotics. This article concludes with an exploration of how these different formal strategies embody different qualities of physical movement or feelings of motion, arguing that in making stylistic distinctions and identifying with a particular subgenre or style, we imagine that these distinct ways of moving correlate with (sub)genre rhetoric and the physical stances of imagined communities of fans (Anderson 1983, Hill 2016). Received January 2020 Volume 27, Number 1, March 2021 Copyright © 2021 Society for Music Theory “Your favorite songs all sound the same — and that’s okay .
    [Show full text]
  • Isla Clementina Guitar Solo Sheet Music
    Isla Clementina Guitar Solo Sheet Music Download isla clementina guitar solo sheet music pdf now available in our library. We give you 6 pages partial preview of isla clementina guitar solo sheet music that you can try for free. This music notes has been read 2322 times and last read at 2021-09-28 09:43:53. In order to continue read the entire sheet music of isla clementina guitar solo you need to signup, download music sheet notes in pdf format also available for offline reading. Ensemble: Chamber Orchestra, String Orchestra Level: Advanced [ READ SHEET MUSIC ] Other Sheet Music La Isla Bonita La Isla Bonita sheet music has been read 13883 times. La isla bonita arrangement is for Intermediate level. The music notes has 4 preview and last read at 2021-09-30 20:08:39. [ Read More ] La Isla Bonita Flute Quartet La Isla Bonita Flute Quartet sheet music has been read 2927 times. La isla bonita flute quartet arrangement is for Advanced level. The music notes has 4 preview and last read at 2021-09-30 22:23:47. [ Read More ] La Isla Bonita Woodwind Quartet La Isla Bonita Woodwind Quartet sheet music has been read 2487 times. La isla bonita woodwind quartet arrangement is for Intermediate level. The music notes has 6 preview and last read at 2021-09-30 18:09:50. [ Read More ] La Isla Bonita String Quartet La Isla Bonita String Quartet sheet music has been read 3158 times. La isla bonita string quartet arrangement is for Intermediate level. The music notes has 6 preview and last read at 2021-09-30 23:29:42.
    [Show full text]
  • Bridges to Free-Standing Bridges – Or – the Mutable Modular Model of Metal Music Michael Dekovich University of Oregon
    Bridges to Free-Standing Bridges – or – The Mutable Modular Model of Metal Music Michael Dekovich University of Oregon Heavy metal’s defiance of social and musical norms has been a source of fascination since the genre’s earliest days. But although scholars have been attentive to metal’s unique musical expressions, little literature has been devoted to the analysis of musical form. This paper codifies common strategies in metal song forms and theorizes how metal’s transgressive tendencies manifest in formal functions. Transgression implies a dialectical relationship, the negation of a normative standard. Metal composers frequently use rotational forms found throughout Western popular music but are also prone to modifying and avoiding common song forms, a behavior that can be read through dialogic form, “reconstructing a processual dialogue between any individual work (or section thereof) and the charged network of generic norms, guidelines, possibilities, expectations, and limits provided by the implied genre at hand” (Hepokoski 2010, 71). At the same time, metal’s transgression has deeper implications for teleology. Abjection (Kristeva 1982; Dee 2009) provides a means for metal to construct dialectical identities by deferring or denying telos in favor of liminality, the state of being in- between. Whereas pop and rock usually treat the chorus as a song’s most significant formal goal, metal composers’ expansion of bridge sections and the distortion or omission of rotational units pushes form outside of normative confines, producing sections and song forms that complicate narratives of formal progression. Many pop, rock and metal songs follow the template of compound AABA form, wherein each A section contains a cycle beginning with a verse and ending with a chorus, and where the B section is analogous to the bridge or “middle eight” from Tin Pan Alley AABA pop songs, earning it the designation of “bridge section” (Covach 2005, 74; Nobile 2020, 105).
    [Show full text]
  • Robert Walser Published Titles My Music by Susan D
    Running With the Devil : Power, Gender, title: and Madness in Heavy Metal Music Music/culture author: Walser, Robert. publisher: Wesleyan University Press isbn10 | asin: 0819562602 print isbn13: 9780819562609 ebook isbn13: 9780585372914 language: English Heavy metal (Music)--History and subject criticism. publication date: 1993 lcc: ML3534.W29 1993eb ddc: 781.66 Heavy metal (Music)--History and subject: criticism. Page i Running with the Devil Page ii MUSIC / CULTURE A series from Wesleyan University Press Edited by George Lipsitz, Susan McClary, and Robert Walser Published titles My Music by Susan D. Crafts, Daniel Cavicchi, Charles Keil, and the Music in Daily Life Project Running with the Devil: Power, Gender, and Madness in Heavy Metal Music by Robert Walser Subcultural Sounds: Micromusics of the West by Mark Slobin Page iii Running with the Devil Power, Gender, and Madness in Heavy Metal Music Robert Walser Page iv WESLEYAN UNIVERSITY PRESS Published by University Press of New England, Hanover, NH 03755 © 1993 by Robert Walser All rights reserved Printed in the United States of America 5 4 3 2 1 CIP data appear at the end of the book Acknowledgments for song lyrics quoted: "Electric Eye": Words and music by Glenn Tipton, Rob Halford, and K. K. Downing, © 1982 EMI APRIL MUSIC, INC. / CREWGLEN LTD. / EBONYTREE LTD. / GEARGATE LTD. All rights controlled and administered by EMI APRIL MUSIC, INC. International copyright secured. All rights reserved. Used by permission. "Suicide Solution": Words and music by John Osbourne, Robert Daisley, and Randy Rhoads, TRO© Copyright 1981 Essex Music International, Inc. and Kord Music Publishers, New York, N.Y.
    [Show full text]
  • 3. the BLUES Solo Shortcut
    The Blues Solo Shortcut v1.0 © Christy Bannerman 2019 !1 of !24 THE BLUES SOLO SHORTCUT Welcome to the Blues Solo Shortcut! Let’s waste no time and dive straight in. Most of the great Blues guitar solos you have ever heard are built from a simple set of notes called The Minor Pentatonic Scale. INTRO : THE MINOR PENTATONIC BOX Unless you are absolutely brand new to lead guitar, there’s a good chance you have at least heard of the Minor Pentatonic scale. Perhaps you know this ‘box’ pattern already. Whether this is your first time seeing it or whether it’s already familiar, let’s get to know the Minor Pentatonic scale a bit better. It looks like it contains a lot of notes, but in fact there are only 5 notes within the Pentatonic scale. This is where the scale gets it’s name - from Penta, meaning five as in Pentagon, and Tonic, meaning note, i.e. five note scale. Why does it look like MORE than 5? The reason there are far more than five dots on the scale diagram is that the 5 notes are repeated in the next octave. All the word ‘octave’ means is that we have exactly the same notes again, but repeating at a higher pitch. This is easier to see if we label the notes within our diagram: The Blues Solo Shortcut v1.0 © Christy Bannerman 2019 !2 of !24 Once we arrive at the note circled in green, the notes simple start to repeat themselves at a higher pitch: The Blues Solo Shortcut v1.0 © Christy Bannerman 2019 !3 of !24 The Root Note A very quick but important thing for later: The most important note in the Minor Pentatonic scale is the note it starts from, which is called the Root Note.
    [Show full text]
  • (Work): [email protected] Primary Instrument: Guitar
    Curriculum Vita Personal Timothy D. Crist Major Field: Composition/Theory email (work): [email protected] Primary Instrument: Guitar Education Degree Educational Institution Year Earned Doctor of Musical Arts University of Georgia 1998 Athens, Ga. 30602 Master of Music University of Georgia 1991 Athens, Ga. 30602 Bachelor of Music University of Georgia 1988 Athens, Ga. 30602 Diploma Brevard High School 1983 Brevard, N.C. 28768 Associate in Fine Arts Brevard College 1988 Brevard, N.C. 28768 Primary Teachers Lewis Nielson Leonard Ball Master Classes Robert Dick 1991 Craig Hultgren 1994 Samuel Adler 1995 Ellen Zwililch 1996 William Bolcom 1997 George Crumb 1997 Employment Arkansas State University, Jonesboro, AR. : Professor of Music, 2008- Arkansas State University, Jonesboro, AR. : Associate Professor of Music, 2004-2008 Arkansas State University, Jonesboro, AR. : Assistant Professor of Music, 1999-2004 University of Louisville, Louisville, KY.: Assistant Professor of Music, 1998-1999 University of Georgia, Athens, GA.: Part-Time Music Instructor, 1997-98 University of Georgia, Athens, GA.: Main Library Media Department, 1997 University of Georgia, Athens, GA.: Graduate Assistantships in Music, 1993-1996 University of Georgia, Athens, GA.: Main Library Peabody Archive, 1990-1993 University of Georgia, Athens, GA.: Main Library Music Office, 1990 Emmanuel College, Franklin, GA.: Classical Guitar Instructor (part-time), 1989 University of Georgia, Athens, GA.: Graduate Assistantships in Music, 1988-1990 Brevard Music Center, Brevard, N.C.:
    [Show full text]
  • Compositions for Guitar Quartet: Suite for 24 Strings the Canadian
    Compositions for Guitar Quartet: Suite For 24 Strings The Canadian Landmarks Suite Daron McColl A Thesis submitted to the Faculty of Graduate Studies in partial fulfillment of the requirements for the degree of Masters of Arts Graduate Program in Music York University Toronto, Ontario April 2019 © Daron Malcolm McColl, 2019 Abstract This thesis combines the score of an original work by Daron McColl for Guitar Quartet entitled “The Canadian Landmarks Suite”, for guitar quartet, plus a written analysis including process, intent, and methodology behind the works. In my analysis I will explore my personal process and challenges in completing this project. The suite was written to fill a gap in the guitar quartet repertoire and features themes that are based on a Canadian context and the celebration of the arts within Canada. The themes in the suite represent my personal experiences with places and nature that have impacted me, as well the composition is modeled after many of my musical influences. The score is a collection of works intended for a modern guitar player, who is experienced playing in both, commercial music and jazz settings, as well as having some knowledge of classical guitar repertoire. This collection of works is intended to be a departure from the conventional guitar quartet because, it is written specifically for steel string guitar rather then nylon string. The works also include parts that explore the extended techniques and timbres specific to the guitar. ii Acknowledgments Undertaking this project has been a journey that could not have been done alone. This acknowledgment is a small way that I can say thank you and express my gratitude.
    [Show full text]