Clarinet Xylophone Harp Vibraphone Cymbals Wood Block Trumpet

Total Page：16

File Type：pdf, Size：1020Kb

Call List Clarinet Xylophone Harp Vibraphone Cymbals Wood Block Trumpet Triangle Bass Drum Organ Cello French Horn Marimba Tuba Double Bass Flugelhorn Contrabassoon English Horn Euphonium Piccolo Glockenspiel Oboe Saxophone Cornet Bassoon Bass Trombone Bass Clarinet Violin Timpani Bass Oboe Heckelphone Trombone Flute Viola Harpsichord Tambourine Snare Drum Created using www.BingoCardPrinter.com M U S I C Wood Double Clarinet Piccolo Block Cello Bass French Xylophone Trumpet Flugelhorn Glockenspiel Horn Free Triangle Contrabassoon Harp Space Oboe Bass English Vibraphone Marimba Saxophone Drum Horn Cymbals Organ Tuba Euphonium Cornet Created using www.BingoCardPrinter.com M U S I C Wood Triangle Harp Viola Block Violin Bass Saxophone Harpsichord Clarinet Xylophone Clarinet French Free English Trombone Horn Space Flute Horn Bass Heckelphone Vibraphone Cello Tuba Trombone Cornet Glockenspiel Bassoon Tambourine Timpani Created using www.BingoCardPrinter.com M U S I C Bass Clarinet Tambourine Heckelphone Flugelhorn Clarinet Bass Bass Euphonium Organ Xylophone Oboe Trombone Free Bassoon Marimba Trumpet Piccolo Space Glockenspiel Cello Triangle Vibraphone Contrabassoon Double Cymbals Flute Oboe Bass Tuba Created using www.BingoCardPrinter.com M U S I C English Contrabassoon Harpsichord Horn Cello Tuba Bass Bassoon Trumpet Cymbals Clarinet Trombone Free Vibraphone Trombone Euphonium Space Piccolo Bass French Bass Xylophone Oboe Horn Drum Violin Wood Bass Cornet Triangle Block Viola Clarinet Created using www.BingoCardPrinter.com M U S I C Bass Clarinet Organ Flugelhorn Trombone Oboe Oboe Cello Flute Violin Viola Bass Free Tambourine Harpsichord Drum Space Tuba Bass English Wood Triangle Piccolo Trombone Horn Block Double Saxophone Marimba Contrabassoon Glockenspiel Bass Created using www.BingoCardPrinter.com M U S I C Bass Contrabassoon Flute Cello Oboe Tuba Bass Trombone Vibraphone Clarinet Trombone Oboe Free English Saxophone Heckelphone Trumpet Space Horn Viola Euphonium Violin Glockenspiel Triangle Bass French Harpsichord Cornet Xylophone Clarinet Horn Created using www.BingoCardPrinter.com M U S I C Clarinet Xylophone Cello Flugelhorn Heckelphone French Vibraphone Marimba Bassoon Horn Violin Wood Free Piccolo Trombone Tambourine Block Space Bass Double Trombone Bass Organ Viola Tuba Trumpet Glockenspiel Cymbals Harpsichord Euphonium Created using www.BingoCardPrinter.com M U S I C Snare Marimba Cymbals Bassoon Saxophone Drum Bass Timpani Contrabassoon Clarinet Cello Oboe Bass Free Double Piccolo Trombone Oboe Space Bass Bass Glockenspiel Cornet Vibraphone Flute Drum Wood Tambourine Triangle Violin Block Tuba Created using www.BingoCardPrinter.com.

Copy Link

Recommended publications

The Orchestra in History
Jeremy Montagu The Orchestra in History The Orchestra in History A Lecture Series given in the late 1980s Jeremy Montagu © Jeremy Montagu 2017 Contents 1 The beginnings 1 2 The High Baroque 17 3 The Brandenburg Concertos 35 4 The Great Change 49 5 The Classical Period — Mozart & Haydn 69 6 Beethoven and Schubert 87 7 Berlioz and Wagner 105 8 Modern Times — The Age Of The Dinosaurs 125 Bibliography 147 v 1 The beginnings It is diﬃcult to say when the history of the orchestra begins, be- cause of the question: where does the orchestra start? And even, what is an orchestra? Does the Morley Consort Lessons count as an orchestra? What about Gabrieli with a couple of brass choirs, or even four brass choirs, belting it out at each other across the nave of San Marco? Or the vast resources of the Striggio etc Royal Wedding and the Florentine Intermedii, which seem to have included the original four and twenty blackbirds baked in a pie, or at least a group of musicians popping out of the pastry. I’m not sure that any of these count as orchestras. The Morley Consort Lessons are a chamber group playing at home; Gabrieli’s lot wasn’t really an orchestra; The Royal Wed- dings and so forth were a lot of small groups, of the usual renais- sance sorts, playing in turn. Where I am inclined to start is with the ﬁrst major opera, Monteverdi’s L’Orfeo. Even that tends to be the usual renaissance groups taking turn about, but they are all there in a coherent dra- matic structure, and they certainly add up to an orchestra.
[Show full text]
Heckelphone / Bass Oboe Repertoire
Heckelphone / Bass Oboe Repertoire by Peter Hurd; reorganized and amended by Holger Hoos, editor-in-chief since 2020 version 1.2 (21 March 2021) This collection is based on the catalogue of musical works requiring heckelphone or bass oboe instrumen- tation assembled by Peter Hurd beginning in 1998. For this new edition, the original version of the repertoire list has been edited for accuracy, completeness and consistency, and it has been extended with a number of newly discovered pieces. Some entries could not (yet) be rigorously verified for accuracy; these were included nonetheless, to provide leads for future investigation, but are marked clearly. Pieces were selected for inclusion based solely on the use of heckelphone, bass oboe or lupophone, without any attempt at assessing their artistic merit. Arrangements of pieces not originally intended for these instruments were included when there was clear evidence that they had found a significant audience. The authors gratefully acknowledge contributions by Michael Finkelman, Alain Girard, Thomas Hiniker, Robert Howe, Gunther Joppig, Georg Otto Klapproth, Mark Perchanok, Andrew Shreeves and Michael Sluman. A · B · C · D · E · F · G · H · I · J · K · L · M · N · O · P · Q · R · S · T · U · V · W · X · Y · Z To suggest additions or corrections to the repertoire list, please contact the authors at [email protected]. All rights reserved by Peter Hurd and Holger H. Hoos, 2021. A Adès, Thomas (born 1971, UK): Asyla, op. 17, 1997 Duration: 22-25min Publisher: Faber Music (057151863X) Remarks: for large orchestra; commissioned by the John Feeney Charitable Trust for the CBSO; first performed on 1997/10/01 in the Symphony Hall, Birmingham, UK by the City of Birmingham Symphony Orchestra under Simon Rattle Tags: bass oboe; orchestra For a link to additional information about the piece, the composer and to a recording, please see the on-line version of this document at http://repertoire.heckelphone.org.
[Show full text]
Boston Symphony Orchestra Concert Programs, Season 85, 1965-1966
CCf EIGHTY-FIFTH SEASON Ml 1965-1966 t$l EXCELLAIT SURTOUT POUR LES FANFARES!" Although it is difficult to trace the origin of the French horn, it is generally accepted that it was developed in France during the 17th century • An outgrowth of the early primitive and the later sophisticated hunting horn, its value in the use of Fanfares was acclaimed during the reign of Louis XIII • It was also discovered that strange and wonderful musical effects could be had by inserting the hand in the bell • One of the first orchestral uses came in 1717 when Handel included the French horn in his score of the "Water Music" • The modern instrument embodies a main tube measuring approximately 7 feet 4 inches in length, coiled in circles and finally expanding into a widely flared bell • As the French horn lends its importance to the value of the modern symphony orchestra, so too does the trained and reliable insurance office develop a modern and sensible insurance program for business and personal accounts • We would welcome an opportunity to analyze your need for complete protection. We respectfully invite your inquiry Associated with CHARLES H. WATKINS 8c CO. Or>i\lUlN, n.USSH.LL, &C l^U. Richard P. Nyquist — Charles G. Carleton / 147 milk street boston, Massachusetts / Insurance of Every Description Telephone 542-1250 EIGHTY-FIFTH SEASON, 1965-1966 CONCERT BULLETIN OF THE Boston Symphony Orchestra ERICH LEINSDORF, Music Director Richard Burgin, Associate Conductor with historical and descriptive notes by John N. Burk Copyright, 1966, by Boston Symphony Orchestra, Inc. The TRUSTEES of the BOSTON SYMPHONY ORCHESTRA, Inc.
[Show full text]
Sound Sets in Sibelius 2
Sound sets in Sibelius 2 For advanced users only! Before attempting to create your own sound set, it is worth checking if one is already available: see the online Help Center at http://www.sibelius.com/helpcenter/resources/ for the latest additions. Disclaimer Sound sets are complex files and are not designed to be user-editable. Using a sound set with incorrect syntax may cause your copy of Sibelius to behave unpredictably or even crash. Sibelius Software accepts no responsibility for any loss of data or other problems experienced as a result of editing the supplied sound sets or creating new ones. This document is provided ‘as is’, and no warranty, implied or otherwise, covers the information contained within. Please also note that we do not offer technical support on the editing or creation of sound set files. Filenames The filename of a sound set file is insignificant (i.e. it is not shown in the Play Z Devices dialog), but we recommend that it should be fairly descriptive. It should also be 31 characters or less (including the .txt file extension) to ensure compatibility with all file systems. Sound set syntax Please refer to the General MIDI.txt file inside C:\Program Files\Sibelius Software\Sibelius 2\Sounds for an example of correct sound set syntax. In fact, you may wish to copy this file and use it as the basis of your own sound set. The sound set starts with an open brace { and ends with a closing brace }. The body of the sound set contains the following fields within the opening and closing braces as a series of ‘tree nodes’, in this order: MIDIDevice Syntax: MIDIDevice "GM (General MIDI)" The name of the device, e.g.
[Show full text]
Volume 35, Number 05 (May 1917) James Francis Cooke
Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 5-1-1917 Volume 35, Number 05 (May 1917) James Francis Cooke Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Ethnomusicology Commons, Fine Arts Commons, History Commons, Liturgy and Worship Commons, Music Education Commons, Musicology Commons, Music Pedagogy Commons, Music Performance Commons, Music Practice Commons, and the Music Theory Commons Recommended Citation Cooke, James Francis. "Volume 35, Number 05 (May 1917)." , (1917). https://digitalcommons.gardner-webb.edu/etude/635 This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. SYMPHONY NUMBER THE ETUDE PRESSERS MUSICAL MAGAZINE MAY, 1917 FIRST PERFORMANCE IN AMERICA OF GUSTAV MAHLER’S EIGHTH SYMPHONY PHILADELPHIA ORCHESTRA _ PRICE 15 CENTS $1.50 AYEAR THE ETUDE Page 2S9 MAY 1917 Men at the Heights in Almost Evervj Life Vocation Have Climbed There on Home Made Ladders of Opportunity Music boasts its WAGNER, statecraft its LINCOLN, invention its EDISON, literature its SHAKESPEARE, art its MICHAELANGELO, finance and manufacture its ROCKEFELLERS, CARNEGIES, SCHWABS—all supermen wbo owe tbeir greatness not to colleges and universities, but to books and life. Rich and poor, young and old, worker and dreamer, The college merely starts a man. everybody can find help in these wonderful books, because The conservatory merely starts a woman.
[Show full text]
Chronicling the Developments of the Double Reed
Eastern Kentucky University Encompass Honors Theses Student Scholarship Spring 2016 Chronicling the Developments of The oubleD Reed Jenna Sehmann Eastern Kentucky University, [email protected] Follow this and additional works at: https://encompass.eku.edu/honors_theses Recommended Citation Sehmann, Jenna, "Chronicling the Developments of The oubD le Reed" (2016). Honors Theses. 345. https://encompass.eku.edu/honors_theses/345 This Open Access Thesis is brought to you for free and open access by the Student Scholarship at Encompass. It has been accepted for inclusion in Honors Theses by an authorized administrator of Encompass. For more information, please contact [email protected]. Eastern Kentucky University Chronicling the Developments of The Double Reed Honors Thesis Submitted in Partial Fulfillment of the Requirements of HON 420 Spring 2016 By Jenna Sehmann Mentor Dr. Christine Carucci Music Department Abstract Chronicling the Developments of The Double Reed Jenna Sehmann Dr. Christine Carucci, Music Department Abstract Description: This study examines scholarly articles in thirty-eight years of periodical journals, The Double Reed, published by the International Double Reed Society. Research articles were coded to fit into twelve prominent categories: career-related, composition, extended techniques/modern practices, health, historical, instrument, interview, pedagogy, performance practice, performer profile, reeds, and other. After an analysis of journal articles (N =935) from The Double Reed, results indicated historical articles, interviews, and composition-related articles were the most prominent categories. There was a fairly even dispersion between oboe and bassoon articles, while the majority of published material was generated from American authors. Additional trends are noted to inform and advance the double reed community.
[Show full text]
A History of the Organs at the Church of St. Luke & The
A HISTORY OF THE ORGANS AT THE CHURCH OF ST. LUKE & THE EPIPHANY Organs at St. Luke's Church The first organ for St. Luke's Church was built in 1840 by E. & G. G. Hook of Boston. It had 3 manuals (keyboards) and pedals. The full organ comprised of 29 and a half stops, 1,552 pipes and was at the time noted to be one of the best church organs in Philadelphia. It was well received by visiting organists of the city. The Stoplist was as follows (1): Great: Great Open Diapason Second Open Diapason Stopped Diapason 8 Principal Night horn Twelfth Fifteenth Sesquiatera III Trumpet Clarion Swell: Open Diapason Stopped Diapason Clarabella Principal Fifteenth Piccolo Trumpet Clarionet Haubois (Oboe) Tremulant Choir: Open Diapason Stopped Diapason Dulciana Principal Flute Fifteenth Cremona Later on the organ started having trouble and eventually was replaced in 1877. The new organ was built by E. & G. G. Hook & Hastings of Boston. Since the first organ was built, the company changed its name. The older Hook organ was traded in as part of the payment towards the new organ. There is a possibility that Hook & Hastings used some of the pipework from the previous organ but that can not be verified. That organ was of larger size with 51 stops. The stoplist was as follows: (2) Great: Open Diapason 16 Open Diapason 8 Viola di Gamba 8 Gemshorn 8 Dolce 8 Clarabella 8 Doppel Flute 8 Octave 4 Flute Harmonique 4 Twelfth 2 2/3 Fifteenth 2 Mixture V Trumpet 8 Clarion 4 Swell: Bourdon 16 Open Diapason 8 Salicional 8 Spitz Floete 8 Aeoline 8 Stopped Diapason 8 Flauto Traverso 4 Violina 4 Flageolette 2 Dolce Cornet III Cornopean 8 Oboe 8 Choir: Geigen Principal 8 Dulciana 8 Stopped Diapason 8 Melodia 8 Flute d' Amour 4 Fugara 4 Piccolo 2 Clarinet 8 Orchestral Oboe 8 Pedal: Contra Bourdon 32 Open Diapason 16 Bourdon 16 Dulciana 16 Quint 10 2/3 Octave 8 Violincello 8 Super Octave 4 Organs at The Church of The Epiphany Between 1835 and 1882 The Church of The Epiphany went through three pipe organs.
[Show full text]
Finale Transposition Chart, by Makemusic User Forum Member Motet (1/18/2016) Trans
Finale Transposition Chart, by MakeMusic user forum member Motet (1/18/2016) Trans. Sounding Written Inter- Key Usage val Alter C Up 2 octaves Down 2 octaves -14 0 Glockenspiel D¯ Up min. 9th Down min. 9th -8 5 D¯ Piccolo C Up octave Down octave -7 0 Piccolo, Celesta, Xylophone, Handbells B¯ Up min. 7th Down min. 7th -6 2 B¯ Piccolo Trumpet, Soprillo Sax A Up maj. 6th Down maj. 6th -5 -3 A Piccolo Trumpet A¯ Up min. 6th Down min. 6th -5 4 A¯ Clarinet F Up perf. 4th Down perf. 4th -3 1 F Trumpet E Up maj. 3rd Down maj. 3rd -2 -4 E Trumpet E¯ Up min. 3rd Down min. 3rd -2 3 E¯ Clarinet, E¯ Flute, E¯ Trumpet, Soprano Cornet, Sopranino Sax D Up maj. 2nd Down maj. 2nd -1 -2 D Clarinet, D Trumpet D¯ Up min. 2nd Down min. 2nd -1 5 D¯ Flute C Unison Unison 0 0 Concert pitch, Horn in C alto B Down min. 2nd Up min. 2nd 1 -5 Horn in B natural alto, B natural Trumpet B¯ Down maj. 2nd Up maj. 2nd 1 2 B¯ Clarinet, B¯ Trumpet, Soprano Sax, Horn in B¯ alto, Flugelhorn A Down min. 3rd Up min. 3rd 2 -3 A Clarinet, Horn in A, Oboe d’Amore A¯ Down maj. 3rd Up maj. 3rd 2 4 Horn in A¯ G Down perf. 4th Up perf. 4th 3 -1 Horn in G, Alto Flute G¯ Down aug. 4th Up aug. 4th 3 6 Horn in G¯ F# Down dim.
[Show full text]
By David Irving. (2017) Directed by Dr
HAYWARD, JULIANNA MARTIN, D.M.A. An Exploration of Four Songs for Soprano, Horn, and Piano (1990) by David Irving. (2017) Directed by Dr. Joseph DiPiazza. 174pp. The purpose of this study is to bring attention to the life and music of David Gerow Irving, in particular, his Four Songs for Soprano, Horn, and Piano, composed in 1990. As no previous academic writing has been committed to this subject matter, the study includes an introduction to the life and career of David Irving as well as an overview of his compositional techniques. Chapter 2 includes biographical information about his life in general, his career as a horn player, and his journey to composition. Chapter 3 gives a detailed description of his progression from student to composer. Chapter 4 provides an overview of some of his characteristic compositional tendencies found in a number of his compositions with examples. Chapter 5 focuses on the history and process in composition of the Four Songs for Soprano, Horn, and Piano, including a detailed analysis of each of the songs with comments from the composer. The appendices include a full score of the Four Songs for Soprano, Horn, and Piano, full list of works by David Irving, a written interview with the author, and permissions granted for the use of his correspondence with the author as well as the inclusion of his self-published works. AN EXPLORATION OF FOUR SONGS FOR SOPRANO, HORN, AND PIANO (1990) BY DAVID IRVING by Julianna Martin Hayward A Dissertation Submitted to the Faculty of The Graduate School at The University of North Carolina at Greensboro in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts Greensboro 2017 Approved by _____________________________ Committee Chair APPROVAL PAGE This dissertation written by JULIANNA MARTIN HAYWARD has been approved by the following committee of the Faculty of The Graduate School at The University of North Carolina at Greensboro.
[Show full text]
Medium of Performance Thesaurus for Music
A clarinet (soprano) albogue tubes in a frame. USE clarinet BT double reed instrument UF kechruk a-jaeng alghōzā BT xylophone USE ajaeng USE algōjā anklung (rattle) accordeon alg̲hozah USE angklung (rattle) USE accordion USE algōjā antara accordion algōjā USE panpipes UF accordeon A pair of end-blown flutes played simultaneously, anzad garmon widespread in the Indian subcontinent. USE imzad piano accordion UF alghōzā anzhad BT free reed instrument alg̲hozah USE imzad NT button-key accordion algōzā Appalachian dulcimer lõõtspill bīnõn UF American dulcimer accordion band do nally Appalachian mountain dulcimer An ensemble consisting of two or more accordions, jorhi dulcimer, American with or without percussion and other instruments. jorī dulcimer, Appalachian UF accordion orchestra ngoze dulcimer, Kentucky BT instrumental ensemble pāvā dulcimer, lap accordion orchestra pāwā dulcimer, mountain USE accordion band satāra dulcimer, plucked acoustic bass guitar BT duct flute Kentucky dulcimer UF bass guitar, acoustic algōzā mountain dulcimer folk bass guitar USE algōjā lap dulcimer BT guitar Almglocke plucked dulcimer acoustic guitar USE cowbell BT plucked string instrument USE guitar alpenhorn zither acoustic guitar, electric USE alphorn Appalachian mountain dulcimer USE electric guitar alphorn USE Appalachian dulcimer actor UF alpenhorn arame, viola da An actor in a non-singing role who is explicitly alpine horn USE viola d'arame required for the performance of a musical BT natural horn composition that is not in a traditionally dramatic arará form. alpine horn A drum constructed by the Arará people of Cuba. BT performer USE alphorn BT drum adufo alto (singer) arched-top guitar USE tambourine USE alto voice USE guitar aenas alto clarinet archicembalo An alto member of the clarinet family that is USE arcicembalo USE launeddas associated with Western art music and is normally aeolian harp pitched in E♭.
[Show full text]
An Overview of the Historical Development of the Bassoon
An overview of the historical development of the bassoon Part 1 in the series “A Bundle of Joy, handbook for the bassoon” by Maarten Vonk An e-book as a free gift on occasion to the outcome of the new website FagotAtelier Maarten Vonk The premier bassoon workshop in the Netherlands for more than 30 years, where bassoonists from all over the world feel at home. This is a free e-book and cannot be sold. But you can give it away as may times you like to other bassoon players! FagotAtelier Maarten Vonk, historical development of the bassoon 2013 An overview of the historical development of the bassoon Musicians have been travelers for centuries, a privilege they shared – often through necessity – with noblemen, peddlers, soldiers and pilgrims. They played in groups attached to bishoprics, courts of the nobility, towns, army battalions or theatrical companies for as long as the boss would pay them, and if a band or orchestra was reduced in ranks or done away with altogether, they would take themselves off to pastures new to show off their artistry. Wind players and percussionists, with their loud and portable instruments, often played in the open air at processions, celebrations or pitched battles. Double reed instruments were already being used on such occasions in classical antiquity, and the middle ages saw the development of instruments like the crumhorn, shawm, korholt and bombard, the last of which played in the bass register. In the Renaissance period, polyphonic music was played on instruments from the same family and a quartet of crumhorns or viols was then described as a consort.
[Show full text]
Heckelphone / Bass Oboe Repertoire Excerpt: Compositions for Multiple Heckelphones
Heckelphone / Bass Oboe Repertoire Excerpt: Compositions for multiple heckelphones by Peter Hurd; reorganized and amended by Holger Hoos, editor-in-chief since 2020 version 1.2 (21 March 2021) This collection is based on the catalogue of musical works requiring heckelphone or bass oboe instrumen- tation assembled by Peter Hurd beginning in 1998. For this new edition, the original version of the repertoire list has been edited for accuracy, completeness and consistency, and it has been extended with a number of newly discovered pieces. Some entries could not (yet) be rigorously veriﬁed for accuracy; these were included nonetheless, to provide leads for future investigation, but are marked clearly. Pieces were selected for inclusion based solely on the use of heckelphone, bass oboe or lupophone, without any attempt at assessing their artistic merit. Arrangements of pieces not originally intended for these instruments were included when there was clear evidence that they had found a signiﬁcant audience. The authors gratefully acknowledge contributions by Michael Finkelman, Alain Girard, Thomas Hiniker, Robert Howe, Gunther Joppig, Georg Otto Klapproth, Mark Perchanok, Andrew Shreeves and Michael Sluman. A · B · C · D · E · F · G · H · I · J · K · L · M · N · O · P · Q · R · S · T · U · V · W · X · Y · Z To suggest additions or corrections to the repertoire list, please contact the authors at [email protected]. All rights reserved by Peter Hurd and Holger H. Hoos, 2021. B Bantock, Granville (1868–1946, UK): The Witches Frolic (arrangement by John McDougall), 2020 Duration: 2min Remarks: arrangement for 3 heckelphones; original version for 3 bassoons, 3 violoncelli or 3 double basses, written as incidental music for a Macbeth production in the 1920s and published by Goodwin & Tabb, London Tags: heckelphone; chamber music, arrangement, multiple For a link to additional information about the piece, the composer and to a recording, please see the on-line version of this document at http://repertoire.heckelphone.org.
[Show full text]