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Sir Andrew Davis the Grainger Collection / Topfoto / Arenapal
elgar FALSTAFF orchestral songs ‘grania and diarmid’ incidental music and funeral march roderick williams baritone sir andrew davis Sir Edward c. 1910 Elgar, The Grainger Collection / TopFoto / ArenaPAL Sir Edward Elgar (1857 – 1934) Falstaff, Op. 68 (1913) 35:57 Symphonic Study in C minor • in c-Moll • en ut mineur for Full Orchestra Dedicated to Sir Landon Ronald 1 I Falstaff and Prince Henry. Allegro – Con anima – Animato – Allegro molto – Più animato – 3:09 2 II Eastcheap. Allegro molto – Molto grandioso e largamente – Tempo I – Poco più tranquillo – 2:54 3 Gadshill. A Tempo I – The Boar’s Head. Revelry and sleep. Allegro molto – Con anima – Più lento – Giusto, con fuoco – Poco tranquillo – Allegro molto – Poco più lento – Allegro – Poco a poco più lento – 9:21 4 Molto tranquillo – Molto più lento – 1:14 5 Dream Interlude. Poco allegretto – 2:36 6 III Falstaff’s march. Allegro – Con anima – Poco meno mosso – Animato – A tempo [Poco meno mosso] – 2:58 7 The return through Gloucestershire. [ ] – Poco sostenuto – Poco a poco più lento – 1:27 8 Interlude. Gloucestershire, Shallow’s orchard. Allegretto – 1:34 3 9 The new king. Allegro molto – The hurried ride to London. [ ] – 1:06 10 IV King Henry V’s Progress. Più moderato – Giusto – Poco più allegro – Animato – Grandioso – Animato – 3:29 11 The repudiation of Falstaff, and his death. [ ] – Poco più lento – Poco più lento – Più lento – Poco animato – Poco più mosso – A tempo giusto al fine 6:00 Songs, Op. 59 (1909 – 10)* 6:31 12 3 Oh, soft was the song. Allegro molto 1:52 13 5 Was it some golden star? Allegretto – Meno mosso – Più mosso – Meno mosso – Tempo I 2:10 14 6 Twilight. -
Composer Title Publisher No. of Parts Instruments Price
Composer Title Publisher No. of parts Instruments Price Arnold, M Three Shanties for wind quintet Paterson's 5 oboe, flute, clarinet, horn, bassoon £5 Arnold, M Trio Op 54 Paterson's 3 violin, cello, paino £5 de Arriaga, J C Three Quartets Pegasus 3x4 2x violin, viola, cello £5 Assorted Album of Easy String Quartets vol 2 Kalmus 4 2x violin, viola, cello £5 Auton Aunt Nan & The Old Man Musicland 30 18 x violin, 4 x viola, 7 x cello, full score £5 Auton Folk Songs for Junior String Orchestra Set 1 Musicland 5 3x violin, viola cello/double bass £5 Auton Folk Songs for Junior String Orchestra Set 3 Musicland 5 3x violin, viola, cello/double bass £5 Auton Nancy's Fancy Musicland 5 3x violin, viola, cello/double bass £5 Auton Up and Back A Double Musicland 6 3x violin, viola, cello, double bass £5 Bach, C P E Trio No 3 in G major International Music Co 3 flute, clarinet, piano £5 International Music Bach, C P E Trio No 3 in G major Company 4 piano, viola, flute or violin, clarinet, £5 Bach Quartet in A Musica Rara 4 viola, flute, violin, cello £5 Bach The Art of Fuge OUP 4 2x violin, viola, cello £5 Bach 3 Trio Sonaten Peters 3 violin, viola, piano £5 Bach, J C Quintet in A Op 11 No 5 Music Rara 5 oboe, flute, violin, viola, cello £5 Bach, J C Quintet in F Op 11 No 3 Musica Rara 5 oboe, flute, violin, viola, cello £5 Bach, J C Quartet in C Musica Rara 4 2x violin (or flute) viola (or flute), cello (or flute) £5 Bach, J C Six easy trios for strings Op 4 Marbot GMBH 3 2x violin, cello £5 Bach, J S Sheep May Safely Schott & Co 5 voice, 2x treble recorders, cello, piano £5 Bach, J S (arr. -
Assignment 2
MUSI 231 & 232 Orchestration and Arranging ASSIGNMENT #2 1. Analyze the form of at least two songs Aurally, by listening to them WITHOUT referring to a lead sheet. Written assignment, on the reverse side of this page, is to be turned in next week. 2. Copy and transpose 2 parts to “My Romance” from the lead sheet. Prepare parts for: nd 1) Bb Trumpet (transposed up by a major 2 ), and th 2) Eb Alto Saxophone (transposed up by a major 6 ). REQUIREMENTS: • This is a handwritten assignment. Use a #2-grade (or lower) dark pencil. • Use 8-stave music paper. (See below for free download website) • Copy each part using 4 measures per stave. Use a ruler for bar lines. • Place Clef, Transposed Key Signature, and Time Signature at the beginning of the first stave. • Key signature only at the beginning of every subsequent stave. • Transpose the chord changes, and write them above the stave over the appropriate place in the measure. (Use “Maj7”, “mi7”, “miMaj7”, “7 (b5)”, “9 (#11)”; “O7” for “dim7” is acceptable but not necessary.) • Write measure numbers under EVERY measure, just below and to the right of each bar line. • Use a double bar line at the start of each 8-measure phrase. • Write REHEARSAL LETTERS above each double bar. (Use A, B, C, D. Enclose each rehearsal letter in a square box.) • Write the TITLE (MY ROMANCE) centered above the first stave, in large letters. • Write the INSTRUMENT (Trumpet, Alto Sax) on the upper left side, above the first stave. • Write your NAME on the upper right side, above the first stave. -
Eric Whitacre's Sleep
A GUIDE TO REHEARSAL AND PERFORMANCE Eric Whitacre’s SLEEP Russell Cowieson Sleep, originally an a cappella choral under the Hyperion label in spring 2006 - Lento - If you are working with a young piece composed in 2000, was reached number one in the classical charts. band the tempo of the lento is probably going to be determined by how slowly commissioned by the ‘Big East More information about the composer and they can play the phrases in one breath. Conference Band Directors Association’ his works can be found at Lontano - discuss with them what lontano www.ericwhitacre.com whose many members are to be found means - ‘as from a distance’ - and how printed in the score. Published by they can achieve this effect. Talk about Carpe Ranam and distributed by Hal Instrumentation trying not to produce a sound which is too Leonard, it was premièred by Rutgers Scored for flute 1&2, oboe 1&2, clarinet 1- ‘present’ in the room. Wind Ensemble on April 26th, 2002. 3 and bass clarinet 1&2, AATB saxophones, Molto legato requires a constant 1 bassoon, 4 horns, 3 trumpets, 3 concentration on their breathing and also Written for wind band with optional SATB trombones, 2 baritones and 2 tubas. knowledge of the length of the phrase they chorus, it has been given an appropriate Three percussionists and timpani are are playing. grade three level, achievable by good required. Chorale like - again, discuss what a school bands. Rehearsal Suggestions chorale is (regularly refer to this throughout the rehearsal process to enhance the Performance time is approximately five and Sleep is on the current ncbf repertoire list singing qualities of the line) and how this a half minutes. -
Léon Goossens and the Oboe Quintets Of
Léon Goossens and the Oboe Quintets of Arnold Bax (1922) and Arthur Bliss (1927) By © 2017 Matthew Butterfield DMA, University of Kansas, 2017 M.M., University of Wisconsin-Madison, 2011 B.S., The Pennsylvania State University, 2009 Submitted to the graduate degree program in Music and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Musical Arts. Chair: Dr. Margaret Marco Dr. Colin Roust Dr. Sarah Frisof Dr. Eric Stomberg Dr. Michelle Hayes Date Defended: 2 May 2017 The dissertation committee for Matthew Butterfield certifies that this is the approved version of the following dissertation: Léon Goossens and the Oboe Quintets of Arnold Bax (1922) and Arthur Bliss (1927) Chair: Dr. Margaret Marco Date Approved: 10 May 2017 ii Abstract Léon Goossens’s virtuosity, musicality, and developments in playing the oboe expressively earned him a reputation as one of history’s finest oboists. His artistry and tone inspired British composers in the early twentieth century to consider the oboe a viable solo instrument once again. Goossens became a very popular and influential figure among composers, and many works are dedicated to him. His interest in having new music written for oboe and strings led to several prominent pieces, the earliest among them being the oboe quintets of Arnold Bax (1922) and Arthur Bliss (1927). Bax’s music is strongly influenced by German romanticism and the music of Edward Elgar. This led critics to describe his music as old-fashioned and out of touch, as it was not intellectual enough for critics, nor was it aesthetically pleasing to the masses. -
Dictionary of Braille Music Signs by Bettye Krolick
JBN 0-8444-0 9 C D E F G Digitized by the Internet Archive in 2012 with funding from National Federation of the Blind (NFB) http://archive.org/details/dictionaryofbraiOObett LIBRARY IOWA DEPARTMENT FOR THE BLIND 524 Fourth Street Des Moines, Iowa 50309-2364 Dictionary of Braille Music Signs by Bettye Krolick National Library Service for the Blind and Physically Handicapped Library of Congress Washington, D.C. 20542 1979 MT. PLEASANT HIGH SCHOOL LIBRARY Library of Congress Cataloging in Publication Data Krolick, Bettye. Dictionary of braille music signs. At head of title: National Library Service for the Blind and Physically Handicapped, Library of Congress. Bibliography: p. 182-188 Includes index. 1. Braille music-notation. I. National Library Service for the Blind and Physically Handicapped. II. Title. MT38.K76 78L.24 78-21301 ISBN 0-8444-0277-X . TABLE OF CONTENTS FOREWORD vii PREFACE ix HISTORY OF THE BRAILLE MUSIC CODE ... xi HOW TO LOCATE A DEFINITION xviii DICTIONARY OF SIGNS (A sign that contains two or more cells is listed under its first character.) . 1 •* 1 •• 16 • • •• 3 •• 17 •> 6 •• 17 •• •• 7 •• 17 •• 7 •• 17 •• •• 7 •• 17 •• •• 8 •• 18 •• •• 8 •• 18 •• •• 9 •• 19 •• •• 9 •• 19 • • •• 10 •• 20 • • •• 12 •• 20 •• 14 •• 20 •• •• 14 •• 22 • • •• •• 15 • • 27 •• •• •« •• 15 • • 29 •• • • •« 16 30 •• •• 16 • • 30 30 i: 46 ?: 31 11 47 r. 31 ;: 48 •: 31 i? 58 ?: 31 i; 78 ::' 34 :: 79 a 34 ;: si 35 ;? 86 37 ;: 90 39 ':• 96 40 ;: 102 43 i: 105 45 ;: 113 46 FORMATS FOR BRAILLE MUSIC 122 Format Identification Chart 125 Music in Parallels -
The Clarion Wind Quintet
VOLUME 17, NUMBER 10, 11 Published by the BNL Personnel Ofke DECEMBER 3, 1963 BERA FILM SERIES BEtA PRESENTS CLEO FROM 5 TO 7 THE CLARION WIND QUINTET Thursday, Dec. 5, 8:30 p.m., Lecture Hall “Cieo” is Agnes Varda’s first feature Thursday - December 12 - 8:30 p.m. THE BROOKHAVEN CENTER film, although because of her earlier short subjects, she is generally regalpded The second concert of the 1963-64 BERA Concert Series will be presented on as the precursor of France’s “New December 12 by the Clarion Wind Quintet. The Quintet is comprised of Philip Wave.” Alain Resnais was the editor Dunigan, flute; Henry Schuman, oboe; Robert Listokin, clarinet; Howard Hillyer, on her first short film. horn; and Maril Popkin, bassoon. The story is that of a glamorous In the spring of 1961, five American musicians, long associated in various young girl, primarily interested in luxury orchestra and chamber- groups, came together to form the Clarion Wind Quintet. and pleasure, and 90 minutes of her All are now members of the Clarion Orchestra, and their first concerts were given life - the period between her visit to a under the auspices of the Clarion Music Society. They have gained a wide reputa- fortune teller and the time she is sched- tion as splendid performers of an extensive repertoire ranging from Mozart and uled to meet her doctor to hear thle re- Beethoven to choice modern compositions by Carl Nielsen, Samuel Barber, Wal- sults of some extensive medical tests. In lingford Riegger, Elliot Carter and others. They also perform some outstanding this brief period, faced with the pos- chamber music for wind instruments with piano, and such rarely heard classics as sibi!ity of an incurable cancer, Cleo Mozart’s Symphonie Concertante for four wind instruments and orchestra. -
Brian Baldauff Treatise 11.9
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2017 The Percussion Music of Michael W. Udow: Composer Portrait and Performance Analysis of Selected Works Brian C. (Brian Christopher) Baldauff Follow this and additional works at the DigiNole: FSU's Digital Repository. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC THE PERCUSSION MUSIC OF MICHAEL W. UDOW: COMPOSER PORTRAIT AND PERFORMANCE ANALYSIS OF SELECTED WORKS By BRIAN C. BALDAUFF A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music 2017 Brian C. Baldauff defended this treatise on November 2, 2017. The members of the supervisory committee were: John W. Parks IV Professor Directing Treatise Frank Gunderson University Representative Christopher Moore Committee Member Patrick Dunnigan Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the treatise has been approved in accordance with university requirements. ii To Shirley. iii ACKNOWLEDGMENTS This document and degree would not have been possible without the support, guidance, and patience of numerous extraordinary individuals. My wife, Caitlin for her unwavering encouragement. Dr. John W. Parks IV, my major professor, Dr. Patrick Dunnigan, Dr. Christopher Moore, and Dr. Frank Gunderson for serving on my committee. All my friends and colleagues from The Florida State University, the University of Central Florida, the University of Michigan, West Liberty University, and the University of Wisconsin- Stevens Point for their advice and friendship. My parents Sharon and Joe, and all my family members for their love. -
MUSIC for OBOE and STRINGS Mozart • Crusell • J.C. Bach
557361bk USA 26/8/04 7:30 pm Page 4 Max Artved The oboist Max Artved was born in 1965 and joined the Tivoli Boys’ Guard at the age of twelve. In 1980 he entered the Royal Danish Academy of Music, studying with Jørgen Hammergaard, and subsequently with Maurice Bourgue in Paris and Gordon Hunt in London. He made his solo MUSIC FOR début in 1990 and joined the Royal Danish Orchestra in 1991, later the same year becoming principal oboe with the Danish Radio Symphony Orchestra. Awards include the Jacob Gade Scholarship, the Gladsaxe Music Prize and the Music Critics’ Artist Prize. His career has brought solo OBOE AND STRINGS engagements in Scandinavia and throughout Europe, and he has contributed to recordings released by dacapo and by Naxos Mozart • Crusell • J.C. Bach Elise Båtnes The violinist Elise Båtnes was appointed leader of the Danish Radio Symphony Orchestra in 2002. She has appeared as a soloist, particularly throughout Scandinavia, and was leader of the Oslo Philharmonic Orchestra. She has been a Max Artved, Oboe • Elise Båtnes, Violin member of the Vertavo Quartet, and has served as artistic director of the Bergen Chamber Ensemble. Tue Lautrup, Violin/Viola • Dimitri Golovanov, Viola Dimitri Golovanov Dimitri Golovanov is a native of St Petersburg, where he studied at the Conservatory, before emigrating from the Soviet Union. He has served as principal violist in the Danish Radio Symphony Orchestra since 1994. Lars Holm Johansen, Cello Lars Holm Johansen Lars Holm Johansen was principal cellist in the Royal Danish Orchestra until August 2002, and is well known for his collaboration in chamber music and as a co-founder of the Copenhagen Trio. -
Waves of Refraction for Guitar and Tape
Waves of Refraction for guitar and tape by Jon Christopher Nelson © 1992 Waves of Refraction (1992) for guitar and tape creates aural illusions which are analogous to the visual illusions of light waves refracted through water. Just as an object submerged in water appears slightly warped and unstable, the guitar refracted by the computer-generated tape sounds altered and mutable. At the beginning of the composition, the tape accurately replicates the guitar sounds. However, the tape quickly undergoes a metamorphosis, becoming more unusual and exploratory as the composition unfolds. The guitar also presents material that changes from nervous and disjunct figuration to more lyric lines. Waves of Refraction was commissioned by Carlos Molina, to whom the composition is dedicated. The computer-generated tape was produced in the Florida International University Electronic Music Studio. Notes for the performer: Chromatic alterations apply throughout the measure. The guitar part may be played with a certain amount of liberty. The fermatas and pauses are included to provide the performer with moments to wait for the tape cues (if waiting is necessary). In addition to the exceedingly fast finale and the percussive guitar punctuations throughout the score, there are five different musical styles juxtaposed in this work. These playing styles are marked with rehearsal markings A, B, C, D, and E. Although specific rhythms have been notated within the tempi provided in the score, it may be easier to simply have a rough idea of tempo for each of these styles. The music within the A sections should be fast and the rhythms should be played as accurately as possible. -
Rhapsody in Blue Wind Octet Wind Ensemble Sheet Music
Rhapsody In Blue Wind Octet Wind Ensemble Sheet Music Download rhapsody in blue wind octet wind ensemble sheet music pdf now available in our library. We give you 6 pages partial preview of rhapsody in blue wind octet wind ensemble sheet music that you can try for free. This music notes has been read 3037 times and last read at 2021-09-26 23:12:04. In order to continue read the entire sheet music of rhapsody in blue wind octet wind ensemble you need to signup, download music sheet notes in pdf format also available for offline reading. Instrument: Glockenspiel Ensemble: Chamber Music Level: Advanced [ READ SHEET MUSIC ] Other Sheet Music Bohemian Rhapsody Wind Dectet Wind Ensemble Bohemian Rhapsody Wind Dectet Wind Ensemble sheet music has been read 2729 times. Bohemian rhapsody wind dectet wind ensemble arrangement is for Advanced level. The music notes has 6 preview and last read at 2021-09-28 10:59:03. [ Read More ] Rhapsody In Blue String Ensemble String Orchestra String Octet Rhapsody In Blue String Ensemble String Orchestra String Octet sheet music has been read 5556 times. Rhapsody in blue string ensemble string orchestra string octet arrangement is for Advanced level. The music notes has 6 preview and last read at 2021-09-26 00:30:02. [ Read More ] Wind Octet In Eb Major Op 103 Arranged For Wind Quintet Wind Octet In Eb Major Op 103 Arranged For Wind Quintet sheet music has been read 4599 times. Wind octet in eb major op 103 arranged for wind quintet arrangement is for Advanced level. -
Acknowledgments
ACKNOWLEDGMENTS I would like to acknowledge and express my sincerest thanks to the many people without whom the completion ofthis document would have been impossible: My wife, Amy, whose patience, support, and encouragement was unending, and whose proofreading, word processing, and taping skills were invaluable. My children, Charlie, Will, and Mary Emma, for willingly giving up many, many hours of "quality time" with their dad, which rightfully belonged to them. Professor Richard Blatti of The Ohio State University for his priceless knowledge of the wind-band repertoire, and for the guidance, suggestions, and time (of which he has very little) he was willing to give me and this project. Dr. James L. Moore, for his kindness, support, and willingness to proofread parts of this document, and for donating valuable materials from his own research which concerned this topic. Dr. A Peter Costanza, for his willingness to proofread parts of this document during a time in which he could have devoted all available time and energy into overseeing the 1995 OMEA State Convention. Craig Young, for the many times he helped me find what I needed in the OSU Band Music Library. Professor H. Robert Reynolds of the University of Michigan, for making that university's band music library available to me, and to Ms. Maggie St. Clair and Mr. Bill Kellerman for their wonderful hospitality and professionalism in assisting me while on campus. The many percussionists and conductors who responded to my surveys, submitting valuable suggestions ofpieces which represented the core ofmy research. My father-in-law, Dr. L. R.