DOCSLIB.ORG

Band Rehearsals Will Start

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Band Rehearsals Will Start Saucon Valley Middle School 5th and 6th Grade Band Information Hello 5th and 6th Grade Band Parents! Band rehearsals will start on Thursday, August 26th! Returning and new band students are welcome to join! In order to abide by social distancing guidelines, we will not have large group rehearsals. We will only have small group lessons and sectionals. We will continue to abide by the masking policy described in the Healthy and Safety plan. All band rehearsals and lessons will occur in the Elementary School Band Room. Every morning, students should report directly to their assigned homeroom. If it is their day for band, students should promptly go to the Elementary Band Room for rehearsal. In the event that a student is late to school, they should report directly to the attendance office. A schedule is provided at the end of this document. Students will have a band locker located in the Middle School Cafeteria to store their instruments during the school day. At the beginning of each week, a lesson schedule will be sent out to parents via Remind. Instructions on how to set up Remind notifications can be found at the end of this document. The lesson schedules will also be available for students to view on Schoology using their Ipads. Additionally, classroom teachers will be sent the lesson schedule in order to excuse students from class. For new band students, please fill out the SVMS 5/6 Band Registration For New Students. For returning band students, please fill out the SVMS 5/6 Band Registration For Returning Students. All students will need the book Essential Elements for Band for their respective instrument. (For returning students, this is the same book we used last year!!) Students in the 6th Grade who play the Clarinet, Saxophone, Trumpet, French Horn, Trombone and Percussion will also need Essential Elements for Band Book 2. Please try to have these books by September 9th. You can find these books at your preferred local music store or by using the Amazon links provided at the end of this document. If you have any questions, please feel free to contact me directly at the email provided below! Miss Butterly [email protected] Amazon Links to “Essential Elements for Band” Books! Flute Oboe Clarinet Alto Saxophone French Horn Trumpet Trombone Baritone Percussion (spiral-bound) Amazon Links to “Essential Elements for Band, Book 2” Books! For 6th Grade Only: Clarinet, Saxophone, Trumpet, French Horn, Trombone and Percussion Clarinet Saxophone Trumpet French Horn Trombone Percussion (spiral-bound) Woodwind = Flute, Clarinet, Oboe and Saxophone Brass = Trumpet, French Horn, Trombone and Baritone AUGUST Monday Tuesday Wednesday Thursday Friday 23 24 25 26 27 NO BAND NO BAND NO BAND Woodwinds Brass and Percussion SEPTEMBER Monday Tuesday Wednesday Thursday Friday 30 31 1 2 3 Woodwinds Brass and Brass and Woodwinds No school Percussion Percussion 6 7 8 9 10 No School Brass and Woodwinds Woodwinds Brass and Percussion Percussion 13 14 15 16 17 Woodwinds Brass and Woodwinds No School Brass and Percussion Percussion 20 21 22 23 24 Woodwinds Brass and Percussion Only Woodwinds Brass and Percussion Percussion 27 28 29 30 Woodwinds Brass and Percussion Only Woodwinds Percussion Sign up for important updates from Miss Butterly. Get information for Saucon Valley Middle School right on your phone—not on handouts. Pick a way to receive messages for 2021-2022 5th and 6th Grade Band: A If you have a smartphone, get push notifications. On your iPhone or Android phone, open your web browser and go to rmd.at/svband56 the following link: Join 2021-2022 5th and 6th rmd.at/svband56 Grade Band Full Name Follow the instructions to sign up First and Last Name for Remind. You’ll be prompted to download the mobile app. Phone Number or Email Address (555) 555-5555 B If you don’t have a smartphone, get text notifications. Text the message @svband56 to the To number 81010. 81010 If you’re having trouble with 81010, try Message texting @svband56 to (908) 448-2957. * Standard text message rates apply. @svband56 Don’t have a mobile phone? Go to rmd.at/svband56 on a desktop computer to sign up for email notifications..
Load more

Recommended publications
  • Dayton C. Miller Flute Collection
    Guides to Special Collections in the Music Division at the Library of Congress Dayton C. Miller Flute Collection LIBRARY OF CONGRESS WASHINGTON 2004 Table of Contents Introduction...........................................................................................................................................................iii Biographical Sketch...............................................................................................................................................vi Scope and Content Note......................................................................................................................................viii Description of Series..............................................................................................................................................xi Container List..........................................................................................................................................................1 FLUTES OF DAYTON C. MILLER................................................................................................................1 ii Introduction Thomas Jefferson's library is the foundation of the collections of the Library of Congress. Congress purchased it to replace the books that had been destroyed in 1814, when the Capitol was burned during the War of 1812. Reflecting Jefferson's universal interests and knowledge, the acquisition established the broad scope of the Library's future collections, which, over the years, were enriched by copyright
    [Show full text]
  • 6Th Grade Supply List Cove Creek Middle School 2019-2020 Math
    6th Grade Supply List Cove Creek Middle School 2019-2020 Math ELA ● 1 2-inch inch binder ● 1 ½ binder ● Spiral notebook ● 5 tab dividers ● Pencil pouch for calculator ● Three-pronged, two-pocket plastic folder ● Pencil pouch with pencils, pens, ● Post-it notes highlighters ● Pencil pouch with pencils, pens, highlighters Science/Social Studies General Supplies (will be needed for all classes) ● 1 1-inch binder ● Earbuds (no Airpods or Bluetooth) ● 5 tab dividers ● Pencils ● Highlighters ● Loose leaf paper ● Post-it notes ● Homeroom folder/sleeve for take-home ● Homework folder information ● Spiral Notebook ● Pencil pouch with pencils, pens, highlighters Communal Supplies (to be used by all middle school teachers as needed) ● Clorox wipes ● Kleenex ● Hand sanitizer ● Extra pencils ● Extra pens ● Extra loose leaf paper ● Extra ear buds ● Baggies (sandwich size) Exploratory classes McAulay - Art Spiral bound sketch book (8 ½” x 11” or 8” x 10” or 9” x 10”) Pencils, Erasers, Hand held pencil sharpener Vannoy - PE Physicals are required for all middle school sports Oxentine - Wireless mouse (optional) Technology/Comput ers Rash - ORCHESTRA BAND Band/Orchestra ● Instrument (choose from violin, ● Instrument (choose from viola, cello or upright bass)* flute, clarinet, saxophone, ● Accessories trumpet, french horn, ● Rosin trombone/baritone or ● Shoulder Rest (violin/viola only) percussion)* ● Cello endpin anchor (cello only) ● Accessories ● Extra set of strings (if feasible) ● cleaning swab or other ● Microfiber cloth to periodically cleaning accessories wipe down instrument ● A box of reeds (clarinet, ● Method Book saxophone) ● Essential Elements Book 1 for ● Cork grease (clarinet, specific instrument saxophone) ● Black, 1” or ½” 3 Ring Binder ● valve oil (trumpet); rotary ● Pencil valve oil (french horn only) ● Slide oil (trombone) ● Drumsticks + practice pad (percussion only) ● Method Book ● Essential Elements Book 1 for specific instrument ● Black, 1” or ½” 3 Ring Binder ● Pencil - not pen .
    [Show full text]
  • 27.1. at 20:00 Helsinki Music Centre We Welcome Conrad Tao Sakari
    27.1. at 20:00 Helsinki Music Centre We welcome Conrad Tao Sakari Oramo conductor Conrad Tao piano Lotta Emanuelsson presenter Andrew Norman: Suspend, a fantasy for piano and orchestra 1 Béla Bartók: Divertimento for String Orchestra 1. Allegro non troppo 2. Molto adagio 3. Allegro assai Conrad Tao – “shaping the future of classical music” “Excess. I find it to be for me like the four, and performed Mozart’s A-major pia- most vividly human aspect of musical no concerto at the age of eight. He was performance,” says pianist Conrad Tao (b. nine when the family moved to New York, 1994). And “excess” really is a good word where he nowadays lives. Beginning his to describe his superb technique, his pro- piano studies in Chicago, he continued at found interpretations and his emphasis on the Juilliard School, New York, and atten- the human aspect in general. ded Yale for composition. Tao has a wide repertoire ranging from Tao has had a manager ever since Bach to the music of today. He has also he was twelve. As a youngster, he also won recognition as a composer, and one learnt the violin, and several times in who, he says, views his keyboard perfor- 2008/2009 played both the E-minor vio- mances through the eyes of a composer. lin concerto and the first piano concerto His many talents and his ability to cross by Mendelssohn at one and the same con- traditional borders have indeed made him cert, but he soon gave up the violin. a notable influencer and a model for ot- Despite having all the hallmarks of a hers.
    [Show full text]
  • CHINARY UNG: SINGING INSIDE AURA WATER RINGS OVERTURE | ANICCA | ANTIPHONAL SPIRALS | GRAND SPIRAL [1] WATER RINGS OVERTURE (1993) 6:46 CHINARY UNG B
    CHINARY UNG: SINGING INSIDE AURA WATER RINGS OVERTURE | ANICCA | ANTIPHONAL SPIRALS | GRAND SPIRAL [1] WATER RINGS OVERTURE (1993) 6:46 CHINARY UNG b. 1942 WATER RINGS OVERTURE [2] ANICCA (1970) 8:27 ANICCA [3] ANTIPHONAL SPIRALS (1995) 11:03 ANTIPHONAL SPIRALS [4] SINGING INSIDE AURA (2013) 14:34 Susan Ung, viola and voice SINGING INSIDE AURA GRAND SPIRAL: DESERT FLOWERS BLOOM [5] GRAND SPIRAL: DESERT FLOWERS BLOOM (1991) 13:19 SUSAN UNG viola and voice TOTAL 54:10 BOSTON MODERN ORCHESTRA PROJECT GIL ROSE, CONDUCTOR COMMENT By Chinary Ung The use of vocalization has become a central feature in my music over the past two decades. As a child growing up in a small village surrounded by rice fields, I was exposed to this practice as a part of folk music, and would later hear the music of other cultures share this approach. In contemporary Western music, however, vocalization was most often used as a special effect. I would eventually seek to incorporate vocalization in a more comprehensive manner that was integral to the work while reflecting a similar timelessness and cultural resonance as in the folk music I remembered. The first significant occasion I had to experiment with this idea was in Susan Ung’s Moon Ritual, a structured improvisation in the late 1970s in which Susan played her viola through a Buchla synthesizer while I played cello and vocalized, using syllables for their sound character. The idea remained on the back burner for twenty years before I brought it forth in a major work, Grand Alap, for cello and percussion, in which both parts featured extensive vocalization.
    [Show full text]
  • Standard Orchestra Excerpts for French Horn: a Discussion of Practice and Pedagogy
    STANDARD ORCHESTRA EXCERPTS FOR FRENCH HORN: A DISCUSSION OF PRACTICE AND PEDAGOGY JULIA PORRETTA A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTERS OF MUSIC GRADUATE PROGRAM IN MUSIC YORK UNIVERSITY TORONTO, ONTARIO JULY 2020 © JULIA PORRETTA, 2020 ABSTRACT This study will explain the preparation process needed by an aspiring orchestral French horn player to be sufficiently ready for an orchestral audition in both Canada and the United States. Through a survey of the most prestigious orchestras in both Canada and the United States, this study determines the common excerpts used for French horn auditions. Furthermore, the physical and mental aspects of preparation are discussed. This study seeks to provide both the necessary tools and the insight needed to enable a player to take a given excerpt and learn not only the notes and rhythms, but also discern many other subtleties inherent in the music, resulting in a full understanding and mastery of the music. The most common excerpts are musically analyzed in order understand why the excerpts are commonly chosen and how a French horn player can use pre-established pedagogical techniques and exercises in their individual practicing. This study will provide advice for future French horn players auditioning for the top orchestras in Canada and the United States. ii DEDICATION To the three most important men in my life: my loving husband Julian, my valuable father Michael, and my generous grandfather Guido. You have been my support throughout my entire master’s program. Thank you for walking with me on this journey and carrying me when I thought I could not finish.
    [Show full text]
  • Guide to the Talib Rasul Hakim Collection
    Columbia College Chicago Digital Commons @ Columbia College Chicago CBMR Collection Guides / Finding Aids Center for Black Music Research 2020 Guide to the Talib Rasul Hakim Collection Columbia College Chicago Follow this and additional works at: https://digitalcommons.colum.edu/cmbr_guides Part of the History Commons, and the Music Commons Columbia COLLEGE CHICAGO CENTER FOR BLACK MUSIC RESEARCH COLLECTION The Talib Rasul Hakim Collection, 1940-1988 EXTENT 10 boxes, 15.8 linear feet COLLECTION SUMMARY Talib Rasul Hakim was born Stephen Alexander Chambers in Asheville, NC and was an educator, musician, and composer. This collection contains his early scores and notes on the performance of his compositions will prove invaluable to performers and scholars. PROCESSING INFORMATION The collection was processed and this finding aid created by Suzanne Flandreau in 1998. BIOGRAPHICAL NOTE Talib Rasul Hakim was born Stephen Alexander Chambers in Asheville, NC in 1940. He developed an interest in music in high school, studied clarinet and piano, and continued his education at the Manhattan School of Music (1958-1959), and the New York College of Music (1959-1963). Sometime in the 1960s he became interested in Sufism and assumed his Arabic name. He taught at several institutions, including Pace College, Adelphi University, and the Creative Artist Public Service Program and was the recipient of many awards and grants. His pieces “Sound--Gone” (1967), “Placements” (1970) and “Visions of Ishwara” (1970) were commercially recorded and published, and numerous other works received concert performances. His music often incorporated avant-garde compositional and performance techniques. His works also strongly reflect his interest in Islam and Eastern religions.
    [Show full text]
  • Chinary Ung Grand Spiral
    NWCR710 Chinary Ung Grand Spiral 2. Spiral II (1989) .................................................... (9:49) Judy May Sellheim, mezzo-soprano; Robert Hamilton, piano; Daniel Perantoni, tuba; Arthur Weisberg, conductor 3. Khse Buon for Viola Solo (1980) ........................ (11:02) Susan Lee Pounders Ung, viola 4. Mohori (1974) ..................................................... (12:36) Barbara Martin, soprano; Contemporary Chamber Ensemble: George Haas, oboe; Kenneth Hosley, percussion; Susan Jolles, harp; Gilbert Kalish, piano; Susan Palma, flute; Joseph Passaro, percussion; David Starobin, guitar; Arthur Weisberg, conductor 5. Khse Buon for Cello Solo (1980) ........................ (18:48) Marc Johnson, cello 6. Tall Wind (1970) ................................................. (7:09) Joan Heller, soprano; Keith Underwood, flute; Robert Atherholt, oboe; David Starobin, guitar; Chris Finckel, cello; Arthur Weisberg, conductor 1. Grand Spiral for Symphonic Band (1990) .......... (11:59) Total playing time: 72:06 Arizona State University Symphonic Band; Richard E. Strange, conductor Ê & © 1976, 1983, 1996 Composers Recordings, Inc. © 2007 Anthology of Recorded Music, Inc. Notes Try, for a moment, to imagine a landscape for Chinary Ung’s fascinating display of Ung’s difficult and fascinating progress Grand Spiral. Where—even on the most up-to-the-second into his exotic and unique musical landscape. multicultural, postmodern map—might you find a concert Born in Takeo, Cambodia in 1942, Ung grew up in a musical band that sounds like a gamelan and a concert band? Where, environment exclusively Cambodian or Khmer. But it was the short of finding John Coltrane wandering through the Mekong unlikely E-flat clarinet that he studied at the University of Delta, might a saxophone quartet prominently display the Fine Arts in Phnom Penh, simply because that was, by sinuous interlocking lines of Asian music but still effortlessly chance, the only instrument available to him.
    [Show full text]
  • 2019-2020 New Music Festival
    Fourteenth Annual New Music Festival 4 events I 8 world premieres I 44 performers Christopher Theofanidis, composer-in-residence Lisa Leonard, Director January 12-15, 2020 Dedicated to the memory of Eric Van der Veer Varner 2019-2020 Season FACULTY FAVORITES Sunday, January 12 at 4:00 p.m. Amarnick-Goldstein Concert Hall Double Helix for Bassoon and Piano (2015) Jenni Brandon I. Prelude: Intertwine (b.1977) II. Entrechat III. Divertissement: Gentle Beauty IV. Soar Postlude (Epilogue) Kristin Wolfe-Jensen, bassoon Lisa Leonard, piano Sonata No.1 (1990) Carl Vine I. (b.1945) II. Leggiero e legato Olga Konovalova, piano INTERMISSION Art deco for Duo Piano (1981) David Noon I. Pont Alexandre III (b. 1946) II. Rags III. Lalique IV. Mbira Lisa Leonard and Roberta Rust, piano Duo for Violin and Cello, Op.7 (1914) Zoltán Kodály I. Allegro serioso, non troppo (1882-1967) II. Adagio – Andante III. Maestoso e largamente, ma non troppo lento, Presto Carol Cole, violin David Cole, cello SPOTLIGHT I: YOUNG COMPOSERS Monday, January 13 at 7:30 p.m. Amarnick-Goldstein Concert Hall “Dramatica - music for the unreleased movie”, Igor Pinkhasov for Piano Quintet (2018) (b.1959) Shiyu Liu, violin Kayla Bryan, violin Gabe Galley, viola Michael Puryear, cello Guzal Isametdinova, piano The Mischievous Chase for Piano Solo (2019) Albert Wang World premiere (b.2004) Kimia Rafieian, piano Serenity Trio (2019) Maggie Johnson World premiere (b.2001) Gerhardt W. Arosemena Ott, oboe Guillermo Yalanda, bassoon Kimia Rafieian, piano Piano Quintet “13” (2019) Daniel Guevara World premiere (b.1998) Daniel Guevara, violin Mario Zelaya, violin Mario Rivera, viola Michael Puryear, cello Sharon Villegas, piano INTERMISSION To the Man with all the Knowledge for Two Pianos (2019)Alfredo A.
    [Show full text]
  • University of Cincinnati
    UNIVERSITY OF CINCINNATI Date:___________________ I, _________________________________________________________, hereby submit this work as part of the requirements for the degree of: in: It is entitled: This work and its defense approved by: Chair: _______________________________ _______________________________ _______________________________ _______________________________ _______________________________ CURRENT TRENDS IN ALTO TROMBONE PEDAGOGY IN THE UNITED STATES A document submitted to the Division of Research and Advanced Studies of the University of Cincinnati in partial fulfillment of the requirements for the degree of Doctorate of Musical Arts (D.M.A.) in the Performance Studies Division of the College-Conservatory of Music 2005 by DOUGLAS G. WARNER B.M., University of Tennessee at Chattanooga, 1988 M.M., University of Cincinnati College-Conservatory of Music, 1997 Committee Chair: David Vining ABSTRACT This paper examined alto trombone pedagogy from three vantage points. First an in-depth analysis of the alto trombone methods currently available was presented. The methods were analyzed with regard to progressive arrangement, readability of text and music, balance in the use of keys and registers, inclusion of a position chart and orchestral excerpts, and the pedagogical and musical quality of the etudes. The second part of this paper was a study of occurrences of the alto trombone on student recitals in the United States as reported in publications of the International Trombone Association from 1979-2004. The frequency of performances
    [Show full text]
  • Roger Voisin Memorial Trumpet Competition 2020
    Roger z~a LYNN VoISm UNIVERSITY Memorial Trumpet Competition Roger Voisin Memorial Trumpet Competition Jan. 9 and 10, 2020 I Keith C. and Elaine Johnson Wold Performing Arts Center Roger's rules --:- - --~ ~-:;: - -_.._. -- - ~--- ; -- _.. - .- --­ - - ~ -- -=---...= - - ....,$ . -: ~ - .. - ____ _..... .; ..=-- .- • I . Be on time. 2. Be in time. 3. Be in tune. 4. Practice (your etudes). 5. Prepare (your performances). 6. When in doubt, play louder. 7. Learn solf8ge (sight-singing and ear training). 8. Play, teach, coach, conduct, learn , mentor. 9. Serve music! (Don 't let it serve you.) Pass La Torche! This poster was created for printing in t11e 2007 International Trumpet Guild (ITG) Conference Program The Voisin Tribute event was held at the University of Massachusetts in Amherst, Massachusetts, on May 30 , 2007. The ITG Conference host was Eric Berlin. This was the last official function that Mr. Voisin attended before his passing on Feb. 13, 2008. These rules are one of his many legacies that he passed on to the trumpet community and especially to all of his students. Please visit the tribute website at voisinenterprises.com (music section). 2 Roger Voisin (1918-2008) Among the most influential trumpet of the concerts, I was sitting talking performers and teachers of the with the conductor Arthur Fiedler 20th century, Roger Voisin joined and the first trumpet of the Boston the Boston Symphony Orchestra Pops, Roger Voisin. Suddenly, Roger as assistant principal trumpet in Voisin asked me why I didn't write a 1935 at age 17 and became principal trumpet solo for him to play with the trumpet in 1950.
    [Show full text]
  • Solar Spiral for Piano Quintet
    Solar Spiral for piano quintet 1. Solar Spiral • 2. Tahiti • 3. Big Bertha Dan Tepfer June – August 2016 Commissioned by the Negaunee Foundation and premiered August 31st 2016 at the Ravinia Festival by Dan Tepfer and the Avalon String Quartet. 1. Solar Spiral Dan Tepfer q = 184 A increasingly sul pont Violin I ° 4 & 4 w w fp p> Violin II 4 ∑ ∑ & 4 w w p fp > Viola 4 > B 4 ∑ ∑ ∑ ∑ w wp fp >œ œ œ œ œ œ œ œ Violoncello 4 w ? 4 ∑ ∑ ∑ ∑ ∑ ∑ ¢ fp pp A q = 184 w> 4 & 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Piano 4 ? 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ { w> 10 molto sul pont, buzzy ord. Vln. I ° & w w µw w w nw mf p> Vln. II & w w œ pœpœ œ œ œ œ œ w w w > > > mf > Vla. B >œ œ œ œ œ œ œ œ w w w> >œ œ œ œ œ œ œ œ w pp pp mf increasingly sul pont molto sul pont, buzzy ord. w> w w w w nw> Vc. ? µ ¢ mf p >˙ ˙ >˙ ˙ ˙ >œ œ œ œ >œ œ œ œ œ >œ œ œ œ œ œ >œ œ œ œ œ œ œ & 3 5 3 3 7 Pno. 3 5 3 3 7 ? { >˙ ˙ >˙ ˙ ˙ >œ œ œ œ >œ œ œ œ œ >œ œ œ œ œ œ >œ œ œ œ œ œ œ 2 16 sul pont Vln. I ° & w w w œ œ œ œnœ œ œ œ œ œ œ œ œ œ œ œ > mf Bp>p > µ molto sul pont, buzzy Vln.
    [Show full text]
  • The Work of Cambodian-American Composer Chinary Ung Represents
    The work of Cambodian-American composer Chinary Ung represents one of the more successful attempts to accomplish a musical integration of East and West, resulting in a style that is uniquely his own. To a large extent this has been his goal from the beginning of his career. In general, Ung’s music is resplendent with lush romantic harmonies, rhythmic complexities, and lyrical melodic passages, an amalgamation that, together with his own idiosyncratic compositional technique, has evolved over the course of time. He has developed an individual language out of his own specific “images,” which are reflections of certain life episodes, natural objects, and personal philosophy. One finds in Ung’s music a unique musical “ambiance” and “color,” a heightened sensitivity to “the characteristics of tones and phrases and the spiritual implications of how it affects listeners.” He has remarked, “If East is yellow and West is blue, then my music is green.” Except for a self-imposed hiatus (1974–1985) during which time he was preoccupied with catastrophic events in Cambodia, Ung has been composing consistently since 1970 and for a brief period was fitting into the prevailing post- Webern mode of composition. During that break he began an exhaustive study of the music of his native land and the integration of Asian and Western ideas. From 1985 on he has been seeking to refine his authentic creative voice. The four pieces on this recording, all written during the 1990s, represent Ung’s postmodern style. They tend to be more eclectic and esoteric than his previous compositions, often with interlocking subject matter and musical similarities.
    [Show full text]