DOCSLIB.ORG

Percussion | 2020 Season Audition Requirements

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Percussion | 2020 Season Audition Requirements Requirements for Audition 1 Requirements for Audition Percussion 2020 Season Auditions must be unaccompanied. Please tune to A440 for the solos and excerpts. Excerpts 02 | PROKOFIEV | LIEUTENANT LIJÉ 4 Excerpt 1 | Snare Drum 4 03 | RIMSKY – KORSAKOV | CAPRICCIO ESPAÑOL 5 Excerpt 1 | Snare Drum 5 04 | RIMSKY - KORSAKOV | SCHEHERAZADE 6 Excerpt 1 | Mvt 3 | Snare Drum 6 Excerpt 2 | Mvt 4 | Snare Drum 6 Excerpt 3 | Mvt 4 | Snare Drum 7 05 | SHOSTAKOVICH | SYMPHONY NO. 10 8 Excerpt 1 | Snare Drum 8 06 | SHOSTAKOVICH | POLKA FROM THE GOLDEN AGE 9 Excerpt 1 | Xylophone 9 07 | GERSHWIN | PORGY AND BESS OVERTURE 10 Excerpt 1 | Xylophone 10 08 | KABALEVSKY | COLAS BREUGNON OVERTURE 11 Excerpt 1 | Xylophone 11 09 | COPLAND | APPALACHIAN SPRING 12 Excerpt 1 | Xylophone 12 10 | TCHAIKOVSKY | SLEEPING BEAUTY NO. 5 LA VALSE 13 Excerpt 1 | Glockenspiel (Bells) 13 NZSO National Youth Orchestra | Percussion | 2020 Season Audition Requirements 2 Requirements for Audition 11 | DUKAS | SORCERER’S APPRENTICE 14 Excerpt 1 | Glockenspiel 14 Excerpt 2 | Glockenspiel 15 Excerpt 3 | Glockenspiel 15 12 | DVORAK | CARNIVAL OVERTURE 16 Excerpt 1 | Tambourine 16 Excerpt 2 | Tambourine 17 12 | BRITTEN | FOUR SEA INTERLUDES IV: STORM 18 Excerpt 1 | Tambourine 18 13 | RACHMANINOV | PIANO CONCERTO NO. 2 MVT 1 18 Excerpt 1 | Cymbals 18 14 | TCHAIKOVSKY | ROMEO AND JULIET 19 Excerpt 1 | Cymbals 19 15 | TCHAIKOVSKY | SYMPHONY NO. 4 MVT. 4 20 Excerpt 1 | Cymbals 20 16 | SLAVONIC DANCES NO. 2 21 Excerpt 1 | Triangle 21 Excerpt 2 | Triangle 21 17 | BRAHMS | SYMPHONY NO. 4 MVT. 3 22 Excerpt 1 | Triangle 22 Excerpt 2 | Triangle 22 Excerpt 3 | Triangle 23 Excerpt 4 | Triangle 23 NZSO National Youth Orchestra | Percussion | 2020 Season Audition Requirements 3 Markings When you see an X marked in the part please make a brief pause and continue playing. File names Please label your audio file with the following format: Instrument_LastName_FirstName.mp3 Closing Date Applications for 2020 close on Sunday 15th March. Application/Recording Guidelines See https://www.nzso.co.nz/nzso-engage/nzso-national-youth-orchestra/nyo-audition-excerpts/ for application and recording guidelines NZSO National Youth Orchestra | Percussion | 2020 Season Audition Requirements 4 02 | Prokofiev | Lieutenant Lijé 02 | Prokofiev | Lieutenant Lijé Excerpt 1 | Snare Drum NZSO National Youth Orchestra | Percussion | 2020 Season Audition Requirements 03 | Rimsky – Korsakov | Capriccio Español 5 03 | Rimsky – Korsakov | Capriccio Español Excerpt 1 | Snare Drum NZSO National Youth Orchestra | Percussion | 2020 Season Audition Requirements 6 04 | Rimsky - Korsakov | Scheherazade 04 | Rimsky - Korsakov | Scheherazade Excerpt 1 | Mvt 3 | Snare Drum Andantino quasi Allegretto Excerpt 2 | Mvt 4 | Snare Drum Vivo NZSO National Youth Orchestra | Percussion | 2020 Season Audition Requirements 04 | Rimsky - Korsakov | Scheherazade 7 Excerpt 3 | Mvt 4 | Snare Drum Same tempo NZSO National Youth Orchestra | Percussion | 2020 Season Audition Requirements 8 05 | Shostakovich | Symphony No. 10 05 | Shostakovich | Symphony No. 10 Excerpt 1 | Snare Drum Allegro NZSO National Youth Orchestra | Percussion | 2020 Season Audition Requirements 06 | Shostakovich | Polka from the Golden Age 9 06 | Shostakovich | Polka from the Golden Age Excerpt 1 | Xylophone NZSO National Youth Orchestra | Percussion | 2020 Season Audition Requirements 10 07 | Gershwin | Porgy and Bess Overture 07 | Gershwin | Porgy and Bess Overture Excerpt 1 | Xylophone NZSO National Youth Orchestra | Percussion | 2020 Season Audition Requirements 08 | Kabalevsky | Colas Breugnon Overture 11 08 | Kabalevsky | Colas Breugnon Overture Excerpt 1 | Xylophone Presto NZSO National Youth Orchestra | Percussion | 2020 Season Audition Requirements 12 09 | Copland | Appalachian Spring 09 | Copland | Appalachian Spring Excerpt 1 | Xylophone Presto NZSO National Youth Orchestra | Percussion | 2020 Season Audition Requirements 10 | Tchaikovsky | Sleeping Beauty No. 5 La Valse 13 10 | Tchaikovsky | Sleeping Beauty No. 5 La Valse Excerpt 1 | Glockenspiel (Bells) Allegro (Tempo di Valse) NZSO National Youth Orchestra | Percussion | 2020 Season Audition Requirements 14 11 | Dukas | Sorcerer’s Apprentice 11 | Dukas | Sorcerer’s Apprentice Excerpt 1 | Glockenspiel Vif NZSO National Youth Orchestra | Percussion | 2020 Season Audition Requirements 11 | Dukas | Sorcerer’s Apprentice 15 Excerpt 2 | Glockenspiel Same tempo Excerpt 3 | Glockenspiel Same tempo NZSO National Youth Orchestra | Percussion | 2020 Season Audition Requirements 16 12 | Dvorak | Carnival Overture 12 | Dvorak | Carnival Overture Excerpt 1 | Tambourine NZSO National Youth Orchestra | Percussion | 2020 Season Audition Requirements 12 | Dvorak | Carnival Overture 17 Excerpt 2 | Tambourine Same tempo NZSO National Youth Orchestra | Percussion | 2020 Season Audition Requirements 18 12 | Britten | Four Sea Interludes IV: Storm 12 | Britten | Four Sea Interludes IV: Storm Excerpt 1 | Tambourine 13 | Rachmaninov | Piano Concerto No. 2 Mvt 1 Excerpt 1 | Cymbals NZSO National Youth Orchestra | Percussion | 2020 Season Audition Requirements 14 | Tchaikovsky | Romeo and Juliet 19 14 | Tchaikovsky | Romeo and Juliet Excerpt 1 | Cymbals NZSO National Youth Orchestra | Percussion | 2020 Season Audition Requirements 20 15 | Tchaikovsky | Symphony No. 4 Mvt. 4 15 | Tchaikovsky | Symphony No. 4 Mvt. 4 Excerpt 1 | Cymbals Allegro con fuoco NZSO National Youth Orchestra | Percussion | 2020 Season Audition Requirements 16 | Slavonic Dances No. 2 21 16 | Slavonic Dances No. 2 Excerpt 1 | Triangle Excerpt 2 | Triangle Same tempo NZSO National Youth Orchestra | Percussion | 2020 Season Audition Requirements 22 17 | Brahms | Symphony No. 4 Mvt. 3 Excerpt 1 | Triangle Allegro giacoso Excerpt 2 | Triangle Same tempo NZSO National Youth Orchestra | Percussion | 2020 Season Audition Requirements 17 | Brahms | Symphony No. 4 Mvt. 3 23 Excerpt 3 | Triangle Same tempo Excerpt 4 | Triangle Same tempo NZSO National Youth Orchestra | Percussion | 2020 Season Audition Requirements .
Load more

Recommended publications
  • KASHCHEI for Nine Instruments and Electronics
    KASHCHEI For Nine Instruments and Electronics Nina C. Young November 2010 KASHCHEI for nine instruments and electronics November 2010 Approximate duration: 18:00 Premiered February 8, 2011, Live@CIRMMT – Montreal, Canada Instrumentation: Program Notes: flute (+ piccolo) Kashchei, for nine instruments and electronics, was written by Nina C. Young in 2010 in partial fulfillment of the Master’s of Music degree at McGill University under the supervision of Prof. Sean clarinet in B (+ bass clarinet) b Ferguson. The piece is a representation of Kashchei – a character from Russian folklore who makes an trumpet in C (+ piccolo trumpet; straight and harmon mutes) appearance in many popular fairytales or skazki. H is a dark, evil person of ugly, senile appearance who principally menaces young women. Kashchei cannot be killed by conventional means targeting his body. 2 percussion: Rather, the essence of his life is hidden outside of his flesh in a needle within an egg. Only by finding this I – vibraphone egg and breaking the needle can one overcome Kashchei’s powers. In one skazka, the princess Tsarevna’s I – almglocken (F4, G#4, A4, C5, D#5, E5, F5, G5, A5, B5, C#6) Darissa asks Kashchei where his death lies. Infatuated by her beauty, he let’s down his guard and I – crotales (E5, F5) eventually explains, “My death is far from hence, and hard to find, on the ocean wide: in that sea is the island of I – triangle I – wind chime Buyan, and upon this island there grows a green oak, and beneath this oak is an iron chest, and in this chest is a small I – splash cymbal basket, and in this basket is a hare, and in this hare is a duck, and in this duck is an egg; and he who finds this egg and I – suspended cymbal (medium) breaks it, at the same instant causes my death.” My own piece explores the seven layers and death of Kashchei.
    [Show full text]
  • Guidelines for Percussion Writing
    GUIDELINES FOR PERCUSSION WRITING 1. INSTRUMENTATION The following instruments are available: Timpani (four, ranges D – B, F – d, A – f, d – bb) Bongos (two) Tom-toms (two) Large Concert Bass Drum (36”) Congas (two) Small Bass Drum (28” – pedal can be attached) Rototoms (three) Surdo Side Drum (snares on or off) Tambourim Piccolo side drum (snares on or off) Darbouka Bodhran Tenor Drum (no snares) Cowbells (three) Clash Cymbals (three pairs: 18” or 20” French, Agogo bells (two ‘pitches’) 20” Viennese) Alpenglocken (eight of various sizes) Suspended Cymbals (three: 14”, 18”, 20”) Mark tree (bell tree) Cymbal attached to bass drum Sleigh bells (two sets) Hi-Hat Cymbal with pedal Handbell (untuned) Antique (finger) cymbals (two pairs, unpitched) Anvil Tam-tam (30”) Maracas (two pairs) Gong (20”) Egg shakers Guiros (two) Triangles (six, various sizes and timbres) Reco Reco Cabasa Orchestral Tambourines (two: 10”, 12”) Chekere Rock Tambourine (no head) Vibraslap Flexatone Xylophone Rainsticks (two, one large, one small) Glockenspiel Claves (two pairs) Vibraphone Castanets (Machine and handle) Metal Castanets Tubular bells (1½ octave chromatic set, C – g) Sandpaper blocks Wood blocks (three ‘pitches’) Thunderdrum Temple blocks (five ‘pitches’) Thunder sheet Jam blocks (two ‘pitches’) Big Bom Miscellaneous whistles (referee, train, lighthouse) Apito (samba whistle) Wind chimes (bamboo) Slide whistle (swanee whistle) Whip / Clapper Bulbhorns (two: large - car, small - bicycle) Slapstick Kazoo Ratchet / Rattle Bird calls (nightingale, pigeon, cuckoo, quail, duck) If you require any additional instruments, they would have to be hired – please check with an Orchestra representative first. The most common items that fall into this category are: Piccolo Timpani (20” or smaller) (Rock/Jazz) Drumkit Timbales Cajon Crotales (low or high octave) Log Drum Bass bells (below middle C) Mahler Hammer Hang/Gubal Aluphone Steel Drum Boobams Marimba Keyed Glockenspiel Tubophone Please note that you should not take this list as an invitation to use it all – moderation is a good thing! II.
    [Show full text]
  • TC 1-19.30 Percussion Techniques
    TC 1-19.30 Percussion Techniques JULY 2018 DISTRIBUTION RESTRICTION: Approved for public release: distribution is unlimited. Headquarters, Department of the Army This publication is available at the Army Publishing Directorate site (https://armypubs.army.mil), and the Central Army Registry site (https://atiam.train.army.mil/catalog/dashboard) *TC 1-19.30 (TC 12-43) Training Circular Headquarters No. 1-19.30 Department of the Army Washington, DC, 25 July 2018 Percussion Techniques Contents Page PREFACE................................................................................................................... vii INTRODUCTION ......................................................................................................... xi Chapter 1 BASIC PRINCIPLES OF PERCUSSION PLAYING ................................................. 1-1 History ........................................................................................................................ 1-1 Definitions .................................................................................................................. 1-1 Total Percussionist .................................................................................................... 1-1 General Rules for Percussion Performance .............................................................. 1-2 Chapter 2 SNARE DRUM .......................................................................................................... 2-1 Snare Drum: Physical Composition and Construction .............................................
    [Show full text]
  • Requirements for Audition Sub-Principal Percussion
    Requirements for Audition 1 Requirements for Audition Sub-Principal Percussion March 2019 The NZSO tunes at A440. Auditions must be unaccompanied. Solo 01 | BACH | LUTE SUITE IN E MINOR MVT. 6 – COMPLETE (NO REPEATS) 02 | DELÉCLUSE | ETUDE NO. 9 FROM DOUZE ETUDES - COMPLETE Excerpts BASS DRUM 7 03 | BRITTEN | YOUNG PERSON’S GUIDE TO THE ORCHESTRA .................................. 7 04 | MAHLER | SYMPHONY NO. 3 MVT. 1 ......................................................................... 8 05 | PROKOFIEV | SYMPHONY NO. 3 MVT. 4 .................................................................... 9 06 | SHOSTAKOVICH | SYMPHONY NO. 11 MVT. 1 .........................................................10 07 | STRAVINSKY | RITE OF SPRING ...............................................................................10 08 | TCHAIKOVSKY | SYMPHONY NO. 4 MVT. 4 ..............................................................12 BASS DRUM WITH CYMBAL ATTACHMENT 13 09 | STRAVINSKY | PETRUSHKA (1947) ...........................................................................13 New Zealand Symphony Orchestra | Sub-Principal Percussion | March 2019 2 Requirements for Audition CYMBALS 14 10 | DVOŘÁK | SCHERZO CAPRICCIOSO ........................................................................14 11 | MUSSORGSKY | NIGHT ON BALD MOUNTAIN .........................................................14 12 | RACHMANINOV | PIANO CONCERTO NO. 2 MVT. 3 ................................................15 13 | SIBELIUS | FINLANDIA ................................................................................................15
    [Show full text]
  • ORCHESTRA 2001 Ann Crumb, Soprano & Patrick Mason, Baritone
    Concerts from the Library of Congress 2012-2013 THE DINA KOSTON AND ROGER SHAPIRO FUND FOR NEW MUSIC ORCHESTRA 2001 Ann Crumb, soprano & Patrick Mason, baritone James Freeman, Conductor FRIDAY, May 3, 2013 8 o’clock in the EVENING Coolidge Auditorium Library of Congress, Thomas Jefferson Building THE DINA KOSTON AND ROGER SHAPIRO FUND FOR NEW MUSIC Endowed by the late composer and pianist Dina Koston (1929-2009) and her husband, prominent Washington psychiatrist Roger L. Shapiro (1927-2002), the DINA KOSTON AND ROGER SHAPIRO FUND FOR NEW MUSIC supports commissions and performances of contemporary music. In 1935 Gertrude Clarke Whittall gave the Library of Congress five Stradivari instruments and three years later built the Whittall Pavilion in which to house them. The GERTRUDE clarke whittall Foundation Thewas audio -visual equipment in the Coolidge Auditorium was funded in part by the Ira and Leonore Gershwin Fund in the Library of Congress. Please request ASL and ADA accommodations five days in advance of the concert at 202-707-6362 or [email protected]. Latecomers will be seated at a time determined by the artists for each concert. Children must be at least seven years old for admittance to the concerts. Other events are open to all ages. Please take note: UNAUTHORIZED USE OF PHOTOGRAPHIC AND SOUND RECORDING EQUIPMENT IS STRICTLY PROHIBITED. PATRONS ARE REQUESTED TO TURN OFF THEIR CELLULAR PHONES, ALARM WATCHES, OR OTHER NOISE-MAKING DEVICES THAT WOULD DISRUPT THE PERFORMANCE. Reserved tickets not claimed by five minutes before the beginning of the event will be distributed to stand-by patrons.
    [Show full text]
  • NIU Percussion Complete 2‐Year Cycle of Large Ensemble Audi On
    NIU Percussion Complete 2‐year Cycle of Large Ensemble Audion Excerpts Instrument Fall Even Spring Odd Fall Odd Spring Even Rimsky‐Korsakov: Prokofiev: Prokofiev: Snare Drum Rimsky‐Korsakov: Scheherazade, Peter & the Wolf Lieutenant Kijé, Capriccio Espagnol mvt. 4 The Birth of Kijé Xylophone Messiaen: Oiseaux Persiche, Schuman: Gershwin, Exoques Symphony no. 6, Symphony no. 3, part 2, Porgy and Bess, mvt. 4 toccata Overture Glockenspiel Dukas: Bernstein, Mozart: Respighi: or The Sorcerer’s West Side Story Magic Flute Pines of Rome mvt. 1 Vibraphone Apprence VIBRAPHONE Cymbals Tchaikovsky: Romeo Mussorgsky: Tchaikovsky: Symphony 4, Rachmaninov: and Juliet A Night on Bald mvt. 4 Piano Concerto no. Mountain 2, mvt. 3 Accessories TRIANGLE TAMBOURINE TAMBORINE BD & CYMBALS Brahms, Symphony Benjamin Brien: Dvorak: Sousa, Washington no. 4, mvt. 3 Four Sea Interludes, Carnival Overture Post March mvt. 4 “the storm” Timpani 1 Beethoven: Beethoven: Mozart, Beethoven: Symphony 1, mvt. 3 Symphony 9, mvt. 4 Symphony no. 39 Symphony 9, mvt. 1 Timpani 2 Marn, Brahms: Hindemith: Tchaikovsky: Concerto for Seven Symphony 1, mvt. 4 Symphonic Symphony 4, mvt. 1 Wind Instruments, Metamorphosis Mvt. 3 Audion Preparaon Tips: 1. Begin your preparaon early. Do not wait unl the last week of summer to prepare. 2. Preparing involves, most importantly, knowing the music! Study recordings before you learn the notes. 3. Use Transcribe! to: a. locate and isolate the excerpt within the recording. b. mark up the passage with phrase and measure markers as helpful. c. loop phrases and play along with them. Construct the passage one phrase at a me. d. Work from slow tempi to performance tempi gradually.
    [Show full text]
  • A Score Complete Without Themes: Henry Mancini and the Frenzy Experience
    A SCORE COMPLETE WITHOUT THEMES: HENRY MANCINI AND THE FRENZY EXPERIENCE. PATRICIA CLARE WHEELER-CONDON A DISSERTATION SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY GRADUATE PROGRAM IN MUSIC YORK UNIVERSITY, TORONTO, ONTARIO APRIL, 2013 © Patricia Wheeler-Condon, 2013 ABSTRACT This dissertation examines the musical features of, and circumstances surrounding, the film score composed in 1971 by Henry Mancini for director Alfred Hitchcock's ( penultimate work, Frenzy. Mancini's music was rejected by Hitchcock, and replaced with a markedly different work written by British composer Ron Goodwin. A summation of characteristic traits emerging from Mancini's compositional style is herewith considered, as recurring features found in his thematic writing - aspects of melody, harmony, rhythm, timbre, and form-were most apparent to the non-musician film directors who engaged his services. This summation also includes an examination oft4e composer's dramatic underscore writing; an aspect of film music often overlooked in its minutiae by viewers and filmmakers alike, and, in the case of Mancini's Frenzy music, characteristic of his scores for Laslo Bene_dek's 1971 production, The Night Visitor, and Terrence Young's Wait Until Dark, from 1967. Mancini's Frenzy cue sheets, holograph, and recording were supplied by the composer's estate, allowing for an analysis which considers cue placement and length, systems of pitch and rhythmic organisation, aspects of arrangement and orchestration, and conducting and recording methods as practised by this composer. A comparison to the Goodwin score, reproduced by way of transcription from the film, is undertaken in order to explore aspects of filmic point-of-view as they play on the composer of its accompanying music, and to attempt a rationalisation of .Hitchcock's displeasure with Mancini's music.
    [Show full text]
  • Percussion Excerpts
    VERBIER FESTIVAL JUNIOR ORCHESTRA PERCUSSION EXCERPTS MARIMBA Any solo movement of Bach from Violin Sonatas and Partitas or Cello Suites SNARE DRUM Prokofiev: Lieutenant Kije, 1st mvmt – The Birth of Kije Rimsky-Korsakov: Scheherazade, 4th mvmt – Letter P – R XYLOPHONE Stravinsky: The Firebird – 127–133 GLOCKENSPIEL Mozart: Magic Flute TIMPANI Beethoven: Symphony No. 9, 1st mvmt – Coda Brahms: Symphony No. 1, 4th mvmt – Finale (All excerpts are available on the following pages of this document) AUDITION INFORMATION The tuning pitch of the Verbier Festival Junior Orchestra is A = 442 Hz. All auditions, whether live or recorded, are unaccompanied, and therefore no piano should be used. For video applicants, you MUST read all of the video guidelines in the “VFJO Application Guidelines” document, available on the Verbier Festival page of the GetAcceptd website, before starting your application or making your video. Applicants will not be required to play the full movement of their selected solo works in the live audition. Please focus on performing the first 3-5 minutes of solo playing from the movements of your choice; that said, it is important to note that the panel is entitled to request any portion of the movement. For video submissions, please refer to the video audition guidelines outlined in the “VFJO Application Guidelines” document. - 2 - VERBIER FESTIVAL JUNIOR ORCHESTRA EXCERPTS – SNARE DRUM PROKOFIEV: LIEUTENANT KIJÉ, 1ST MVMT – THE BIRTH OF KIJÉ - 3 - VERBIER FESTIVAL JUNIOR ORCHESTRA EXCERPTS – SNARE DRUM RIMSKY-KORSAKOV: SCHEHERAZADE, 4TH MVMT – LETTER P - R - 4 - VERBIER FESTIVAL JUNIOR ORCHESTRA EXCERPTS – XYLOPHONE STRAVINSKY: THE FIREBIRD – 127–133 - 5 - VERBIER FESTIVAL JUNIOR ORCHESTRA EXCERPTS – GLOCKENSPIEL MOZART: MAGIC FLUTE - 6 - VERBIER FESTIVAL JUNIOR ORCHESTRA EXCERPTS – TIMPANI BEETHOVEN: SYMPHONY NO.
    [Show full text]
  • The Role of Turkish Percussion in the History and Development of the Orchestral Percussion Section
    Louisiana State University LSU Digital Commons LSU Major Papers Graduate School 2003 The oler of Turkish percussion in the history and development of the orchestral percussion section D. Doran Bugg Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_majorpapers Part of the Music Commons Recommended Citation Bugg, D. Doran, "The or le of Turkish percussion in the history and development of the orchestral percussion section" (2003). LSU Major Papers. 27. https://digitalcommons.lsu.edu/gradschool_majorpapers/27 This Major Paper is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Major Papers by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. THE ROLE OF TURKISH PERCUSSION IN THE HISTORY AND DEVELOPMENT OF THE ORCHESTRAL PERCUSSION SECTION A Monograph Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the Requirements for the degree of Doctor of Musical Arts In The School of Music The College of Music and Dramatic Arts by D. Doran Bugg B.M.E., University of Mississippi, 1988 M.M., Baylor University, 1990 December 2003 ACKNOWLEDGMENTS I would like to express my sincere appreciation to the many persons who so generously contributed their time, knowledge, and support during the preparation and completion of this monograph. Special thanks are extended to Professor James Byo, Professor Larry Campbell, Professor Michael Kingan, Professor Patricia Lawrence, Professor John Raush, Professor Joseph Skillen, and Professor James West, members of my doctoral committee.
    [Show full text]
  • Contemporary Music Score Collection
    UCLA Contemporary Music Score Collection Title The Arrow of Time Permalink https://escholarship.org/uc/item/4wd9714n Author Castro-Lima, Marcel Publication Date 2020 License https://creativecommons.org/licenses/by-nc-nd/4.0/ 4.0 eScholarship.org Powered by the California Digital Library University of California THE ARROW OF TIME for Flute and ensemble MARCEL CASTRO-LIMA 2020 Marcel Castro-Lima The Arrow of Time (A Seta do Tempo) I. Time II. Space III. Entropy Flute (Concert, Piccolo, Bass) Percussion (Glockenspiel, Crotales, Temple Blocks, 2 Cow Bells, Triangle) Violin 1 Oboe Piccolo Trumpet Violin2 Duration: 19’00” Program Notes This is a piece in three movements for Piccolo and ensembles of varied sizes. All three movements can be performed as independent solo pieces. If using the ensembles, all three movements should be included in performance. It can be played with the flute and only the first ensemble (plus two instruments), two ensembles (plus 5 instruments), three (plus 10 instruments), four (plus 18 instruments), or five ensembles (plus 31 instruments). The arrow of time is a concept that describes time’s directionality: its asymmetry. While most physical laws are not time-sensitive — they remain true if time is reversed — the second law of thermodynamics states that entropy always increases over time. Entropy, the tendency to disorder within a system, describes how particles tend to move through space and through time until they reach the maximum state of disorganization, or uniformity. In other words, it takes an input of energy to keep a system in an organized state. If there’s no source of energy, the system always moves toward disorder as it loses energy.
    [Show full text]
  • Musical Instruments
    Musical Instruments Answers Worksheet 1 Families Brass Family Woodwind Family String Family Percussion Family Trumpet Trombone Clarinet Violin Timpani 3. Write the name of another instrument in the STRING FAMILY Viola, Cello, Double Bass 4. Write the name of another instrument in the BRASS FAMILY .French horn, Tuba 5. Write the name of another instrument in the PERCUSSION FAMILY Drums, triangle, castanets 6. Write the name of another instrument in the WOODWIND FAMILY Flute, piccolo,oboe 7. To which family does the XYLOPHONE belong? Percussion Worksheet 2 String Family The following instruments are not string instruments. Timpani Harmonica Shekeree Which string instruments would you usually find in a symphony orchestra? Violin, Viola, Cello, Double bass Worksheet 3 Multiple Choice Oboe Woodwind Double String Bass Percussion bass drum Cymbals Percussion Bassoon Woodwind Trumpet Brass French Brass Cello Clarinet Woodwind horn String Cor Trombone Brass Saxophone Woodwind Anglais Woodwind Viola String Castanets Percussion Euphonium Brass Snare Tuba Brass Violin String Percussion drum Xylophone Percussion Flute Woodwind Gong Percussion Worksheet 4 Woodwind Family Which of the following instruments are not woodwind instruments. Cross them out. Recorder Flute Oboe Guiro Bassoon Sansa Cor anglais Bagpipes Piccolo Saxophone Lute Harmonica Krummhorn Jew’s harp Clarinet Which woodwinds would you usually find in a symphony orchestra? flute, piccolo, oboe, cor anglais, clarinet, bassoon. Worksheet 5 Word Search n o o s s a b r o v a s r l x s u a l
    [Show full text]
  • AMFS 2020 Perc Diagram
    APPENDIX 1 - PERCUSSION INSTRUMENTS AVAILABLE IN ASPEN First Glimpse Chamber Music Commission Percussion Availability: Vibe High Octave Crot (C5 – C6 sounding C7 – C8) Toms (2) Bongos Concert B.D. Triangle Tambourine Wood Blocks (3) Slapstick Sus Cymbal Orchestra / Ad Hoc Percussion Availability: Timpani (set of 4) Bass Drum (1) Snare Drum (1) Tom-toms (3) Bongos (1 set) Tambourine Kick Bass Drum Triangle Suspended Cymbals (2: M & L) Crash Cymbals (piatti) Hi-hat Splash Cymbal Chinese Cymbal Cowbell Tam-tam Wood Block (1) Temple Blocks (set of 5) Glockenspiel Tubular Bells Vibraphone Xylophone Marimba Percussion Configuration for Chamber Music Compositions Bongos Triangle Sus cym Crotales Concert Bass Drum Tambourine Toms Vibraphone Woodblocks Slapstick Implement/Instrument Timbre Chart: Bass Drum Bongos Toms Triangle Tambourine Woodblocks Sus cym Crotales Vibes Slapstick Sticks Thin/lots of Standard Standard High More drum, High High Mostly Mostly - contact contact/resonance little jingle contact/thin contact contact contact (Other) BD mallets: Hands: Hands: - 2 Hands: - Bowing: Bowing: Bowing: 2 hands: Standard standard thinner/quiet standard ethereal all pitch all pitch standard Yarn Pointed/fuller Thuddy/not Standard PPPPP max 50/50 PPPP max Standard PPP max, Standard - mallets ideal dynamic/only ring drum/jingle dynamic (rolls) mostly contact Plastic Very Standard Standard High mostly Standard High Standard FFF min - mallets sharp/not full contact/resonance drum, little contact dynamic jingle Rubber Rounder/not Standard Standard Med contact/high mostly Standard High Standard, High - mallets full resonance drum, little contact veiled contact jingle & pitch Metal Very Very Very Standard Very thin, No, due to High Standard High - mallets/tri thin/high thin/high thin/high all drum cracking risk contact/thin contact beater contact contact contact & pitch .
    [Show full text]