DOCSLIB.ORG

May 1928) James Francis Cooke

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 5-1-1928 Volume 46, Number 05 (May 1928) 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 46, Number 05 (May 1928)." , (1928). https://digitalcommons.gardner-webb.edu/etude/756 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]. r The Journal of the zJhfCusical Home Everywhere THE ETUDE ^ETVBEmaVaV,^ A MONTHLY JOURNAL FOR THE MUSI¬ !7]Slpted Song (Composers Whose Works £Merit Inspection CIAN, THE MUSIC STUDENT AND rugSay.H CanS «|f2’^EditcD! ^DWARD^SWaRTHHIPSHER Presenting a Wide Variety of Songs for Concert, Home and Studio Use BURLEIGH * !"♦ The range of. each song is indicated with small eand * TROYER capital letters. The first letter is the lowest note in CARLOS TROYER, a native of the song and the second letter is the highest note. A Germany, was born in January, _. distinguished composer and dean small letter tells that the note is below or above the 1837, but we present him here because of American Negro Musicians, was born staff and the CAPITAL letter tells that it is on a many of his best works were done in in Erie, Pa., where he received his early line or in a space within the staff. this country. , , , . ==? education. As a child he was placed under the His professional career began as a best of musical instruction and at eleven soloist in the Churches and Synagogue he toured Germany, Austria and Holland in Erie, where he sang until 1892 when he Harry Thacker. -AMBROSE .—" as a violin prodigy. He refused a pro¬ went to New York to accept a scholar- uurleigh fessorship at the conservatories of Stuttgart and Fran™« ship at the National Conservatory of Music, where he in order to satisfy his inclination to travel—a pastime became a protege of Dvorak. which led him to America and which eventually placed him in a position to accomplish his greatest works, namely, the development of the songs of the American Indians. and became well His experience with the Inca tribe and later with the prominent Music Zuni Indiana inspired him to numerous distinctive song compositions, which were developed from Indian themes. tinctly his own—the melodious folk songs of his o Schools in and around New York. In addition to many other compositions the contri¬ people in the light of their whole pathetic history, a butions which he has made to civilisation regarding these revealed by one of their own blood and sympathy. As a composer he has written much in interesting people of North and South Amenca are lnvalu- JUST BECAUSE the line of songs, in¬ able and have formed a notable addition to Musical Litera- By H. T. Burleigh strumental works, No. 12244 (High Voice) Gr. 3 Price, 50 cent an authority on mu¬ sical history as well and some of the prod¬ INVOCATION TO THE SUN-GOD as theory and har¬ ucts of his pen have mony, having spent been republished in By Carlos Troyer some years in lectur¬ Europe, in addition Nq, 9786 Gr. 4 Price, 35 cents ing at several of the “ to having wide- LOVER’S WOOING or BLANKET SONG JEAN O, MASTER LET ME WALK WITH THEE By Carlos Troyer By H. T. Burleigh By Paul Ambrose No. 9787 Gr. 3 Price, 40 cents No. 12242 (Medium Voice) Gr. 3 Price, 50 ce No. 18475 (High Voice) Gr. 3 Price, 40 cents ui.s,Z'r-T*r“•"* •J 3— sL-Jj- '"T THEODORE PRESSER CO., Music ‘Dealers and Publishers MAY 1928 Page 839 THE ETUDE Page 888 MAY 1928 THE ETUDE I IK RE IS THE LATEST LOT OF SUMMY’S CORNER THEODORE PRESSER CO.’S Qan Tou T5ell? — THE SUMMY “EDITION”! Whenever you see the familiar gray-green THE ETUDE MUSIC MAGAZINE cover of the SUMMY “EDITION,” you know you are in contact with music ■*- NEW MUSIC -* Founded by Theodore Presser, which was composed and published for those who are satisfied only with -the >rkers demand “Music for Everybody ” 1. Who wrote the words of America? best. ...-an ucw additions to the I'resser Catalog because of the valuable 2. What is a Pastorale? You can be sure when you buy music in the SUMMY “EDITION,” you g music that reflects MODERN IDEALS and conforms to MODERN fufgm1'ten?aI0coveringinafr"tcin8 an?ity^'f „.e buying t- 3. Where and when was the first song recital given in America? TEACHING METHODS. Examination Privilegtf Cheerfully Exien ded ALBERT- 4. Who composed the oratorio, Creation f 5. For what is each of the following musical artists famous: FRANCES TERRY Cat K PIANO SOLOS Contents for May, 1928 ' (a) Rosa Ponselle; (b) Paderewski; (c) Kreisler? has some of her outstanding Educational Works for Piano published i „ CARSE, ADAM World of Music . 337 SUMMY “EDITION.” 4083 CHUT Can You Tell?—Quiz . 339 6. In what opera was the song, O Promise Me, introduced to 24080 Twilight Reverie . Musician and Fly .s. O. Artelt 339 combs:: display the talent of a popular singer ? Her Latest Work ! Another New Work! 24045 K?L(In1eDr^z„) Maxims for Piano Student .J. C. Langley 339 Hour Lessons? .s. A. Hanson 339 wsmsss 7. Who wrote the well-known piano piece, Last Hope? FIFTEEN INTERMEDIATE SIXTEEN SPRIGHTLY 24032 SSSX Musical Education in the Home.M. W. Ross 341 STUDIES STUDIES Questions and Answers .A. de Ouichard 349 8. What is the English equivalent of “Der Frcisclmtz” and :4091 (3rd Grade. Price, $1.00.) Po&Lvhe..c The Musical Home Reading Table .I. S. Qarbetl 351 GUICHARD' who composed this opera? (4th Grade. Price, $1.00) MUSICOLOGIST.LECTURER, 170 llu..li..Ki Short Studies that are adapted to develop Editorials . 353 These Studies uni technical facility and also delicacy of touch. ‘Napoli E’ Una Canzone” ./. p. Cooke 355 9. Who wrote Aloha Oe (Farewell to Thee), the popular Their musical attractiveness contributes to 24015 Va^NSTlZh„„^HARD 4 Ethics in Musical Profession .H. Witherspoon 357 MOULTON :r Hawaiian song? their value. LLLER. (Summy “Edition” No. 129) 2408! S^I°bW^T"V/ Ihe Fifth Finger../f. j Carver 358 Tinker’s Dance, The!'' 2v Cinderella at the Piano .IF. Benbow 359 Two Country Dances by NEW YORK -»*J£ 10. Identify the following theme: a favorite English com- Etching, Johannes Brahms .,y. Bauer 360 One Hour at the Piano.p Berger 301 RIBIOLLET, EDMOND Orchestral Innovations .//. E. Elverson 362 NORMAL.S 24031 Dream of Youth, Valse- A Standard Teaching Work! netting Right Number of Notes.E. H. Pierce 362 TURN TO PAGE 419 AND CHECK UP YOUR ANSWERS. A Favorite Teaching Work ! STANFORD, C. V. 4 Iieading Chords Simplified .S. Weinstein 362 LEARNING HOW TO PLAY 24068 Morris Dance . 1 y Keeping Right Tempo .ff. F. Rubio 362 INSTRUCTION, EI.KMF\TA»v ...... Save theae questions and answers as they appear in each issue of Thb Etude Music Maoazinb month FIRST STUDIES IN STYLE after month, and you will have 6ne entertainment material when you are host to a group of music loving (Adv. lst-2nd Grade. Price, $0.75) Practical Memorizing .IF. L. Clark 362 friends. Teachers can make a scrap book of them for the benefit of early pupils or others who sit by the (Adv. 2nd-3rd Grade. Price, $0.75) SIX SKETCHES When that critical time comes that the Self-Help m Modern Pedaling./->. M. P. Ornslein 363 PI«0«Qte8®J» reception room reading table. Twelve Little Pieces Without Names. pupil needs a real piece to play, these six For the Pianoforte Through the influence of delightful melodies Romance of the Dot . Q A Harris 365 and short forms the technic of this grade pieces with suggestive titles perform an im¬ By C. V. STANFORD Memorizing by Strategy.'.'.'.Vi It. d. Kyle 360 portant part in early education. Adapted RAPISARDA may be advanced thoroughly and crea- also to the older beginner. Grade 2'A Young leather s Instruction Books.... A. M. Linglebacli 306 24084 Bourree ‘ «n or piano schooling Proctor Hldg.f Mount'Verm*!? "v- !>& ^ (Sunrmy “Edition” No. 104) (Summy "Edition” No. 95) 24085 Dolls' Minuet. Master Discs .P. H. Reed 366 Telephone Oakwood 7635. * nt vernon. N Y. 24086 Gavotte ... Rand and Orchestra Department.V. J. Orabel 367 24087 The Bogey-Man ..... The VYCusician and the Fly 24088 The Gollywog’s Dance School Music Department .(7. L. Lindsay 368 RIESBERG i CLAYTON F. SUMMY CO., Publishers I 24089 Hop-Jig Rondo . Teachers’ Round Table. n (1 Hamilton naa By S. G. Artelt Shall Johnny “Take” Violin or Piano?.. .. .H. Stoddard 370 429 South Wabash Avenue Chicago, Illinois PIANO STUDIES Educational Study Notes ./•;. A. Barrel! 387 Henry T. Finck’s “The Golden Age of lively disposition, and “when things went Upon request we will he glad ti Singers Etude . a88 21067 S2I0s'4EE° Music” is full of interesting things, in¬ well, as they often did, he enjoyed life f*r Piano, for the young beginner, Words and Singing. " r r, Elizabeth Martin. VSAr;:,, cluding a warm eulogy of Theodore hugely.” Finck continues, “I remember Organist’s Etude .
Recommended publications
  • 18.7 Instrumental 78S, Pp 173-195

    18.7 Instrumental 78S, Pp 173-195

    78 rpm INSTRUMENTAL Sets do NOT have original albums unless indicated. If matrix numbers are needed for any of the items below in cases where they have been omitted, just let me know (preferably sooner rather than later). Albums require wider boxes than I use for records. If albums are available and are wanted, they will have to be shipped separately. U.S. postal charges for shipment within the U.S. are still reasonable (book rate) but out of country fees will probably be around $25.00 for an empty album. Capt. H. E. ADKINS dir. KNELLER HALL MUSICIANS 2107. 12” PW Plum HMV C.2445 [2B2922-IIA/2B2923-IIA]. FANFARES (Composed for the Musicians’ Benevolent Fund by Lord Berners, Sir. W. Davies, Dorothy Howell and Dame Edith Smyth). Two sides . Lt. rubs, cons . 2. $15.00. JOHN AMADIO [flutist] 2510. 12” Red Orth. Vla 9706 [Cc8936-II/Cc8937-II]. KONZERTSTÜCK, Op. 98: Finale (Heinrich Hofmann) / CONCERTINO, Op. 102 (Chaminade). Orch. dir. Lawrance Collingwood . Just about 1-2. $12.00. DANIELE AMFITHEATROF [composer, conductor] dir. PASDELOUP ORCH. 3311. 12” Green Italian Columbia GQX 10855, GQX 10866 [CPTX280-2/ CPTX281-2, CPTX282-3/ CPTX283- 1]. PANORAMA AMERICANO (Amfitheatrof). Four sides. Just about 1-2. $25.00. ENRIQUE FERDNANDEZ ARBOS [composer, conductor] dir. ORCH. 2222. 12” Blue Viva-Tonal Columbia 67607-D [WKX-62-2/WKX-63]. NOCHE DE ARABIA (Arbos). Two sides. Stkr. with Arbos’ autograph attached to lbl. side one. Just about 1-2. $20.00. LOUIS AUBERT [composer, con- ductor] dir. PARIS CONSERVA- TOIRE ORCH. 1570. 10” Purple Eng.
  • Kisd Band Ms 3 Curriculum Year at a Glance

    Kisd Band Ms 3 Curriculum Year at a Glance

    KISD BAND MS 3 CURRICULUM YEAR AT A GLANCE TEXT: Essential Elements for Band THE LEARNER WILL: 1st 9-Weeks 2nd 9-Weeks 3rd 9-Weeks 4th 9-Weeks Identify, define, write, and analyze whole, half, quarter, paired and single Identify, define, write, and analyze all previously learned elements adding eighth, sixteenth, dotted half, and dotted quarter notes with corresponding 9/8, 12/8, and 5/4 time signatures and the keys of G and Db. (1B, 1D, 1C, rests in simple time and dotted quarters and triplets in compound time; 2B, 3F) multi-measure rests; repeat, first and second endings, da capo al fine, dal segno al fine, da capo al coda, dal segno al coda; dynamics (pp-ff); staccato, Identify, define, write and analyze all previously learned elements in addition to the following: largo-presto, sforzando, fortepiano, chord structures legato, accent, marcato; crescendo, decrescendo; 2/4, 3/4 ,4/4, 2/2, 6/8; keys and tuning in a major key. (1B, 1D, 1C, 2B, 3F) of Bb, Eb, F; instrument names; musical forms; fermata; andante, moderato, ritardando, accelerando, largo, adagio, allegro. (1B, 1D, 1C, 2B, 3F) Perform a 2 octave chromatic scale with correct pitch, fingerings, and Perform from memory a 2 octave chromatic scale with correct pitch, Perform from memory a 2 octave chromatic scale with correct pitch, Perform from memory a 2 octave chromatic scale with correct pitch, accurate intonation. (1B) fingerings, and accurate intonation (quarter = 80bpm utilizing an eighth fingerings and accurate intonation (quarter = 100bpm utilizing an eighth fingerings, and accurate intonation (quarter = 100bpm utilizing a triplet note pattern).
  • Conducting Studies Conference 2016

    Conducting Studies Conference 2016

    Conducting Studies Conference 2016 24th – 26th June St Anne’s College University of Oxford Conducting Studies Conference 2016 24-26 June, St Anne’s College WELCOME It is with great pleasure that we welcome you to St Anne’s College and the Oxford Conducting Institute Conducting Studies Conference 2016. The conference brings together 44 speakers from around the globe presenting on a wide range of topics demonstrating the rich and multifaceted realm of conducting studies. The practice of conducting has significant impact on music-making across a wide variety of ensembles and musical contexts. While professional organizations and educational institutions have worked to develop the field through conducting masterclasses and conferences focused on professional development, and academic researchers have sought to explicate various aspects of conducting through focussed studies, there has yet to be a space where this knowledge has been brought together and explored as a cohesive topic. The OCI Conducting Studies Conference aims to redress this by bringing together practitioners and researchers into productive dialogue, promoting practice as research and raising awareness of the state of research in the field of conducting studies. We hope that this conference will provide a fruitful exchange of ideas and serve as a lightning rod for the further development of conducting studies research. The OCI Conducting Studies Conference Committee, Cayenna Ponchione-Bailey Dr John Traill Dr Benjamin Loeb Dr Anthony Gritten University of Oxford University of
  • Music Braille Code, 2015

    Music Braille Code, 2015

    MUSIC BRAILLE CODE, 2015 Developed Under the Sponsorship of the BRAILLE AUTHORITY OF NORTH AMERICA Published by The Braille Authority of North America ©2016 by the Braille Authority of North America All rights reserved. This material may be duplicated but not altered or sold. ISBN: 978-0-9859473-6-1 (Print) ISBN: 978-0-9859473-7-8 (Braille) Printed by the American Printing House for the Blind. Copies may be purchased from: American Printing House for the Blind 1839 Frankfort Avenue Louisville, Kentucky 40206-3148 502-895-2405 • 800-223-1839 www.aph.org [email protected] Catalog Number: 7-09651-01 The mission and purpose of The Braille Authority of North America are to assure literacy for tactile readers through the standardization of braille and/or tactile graphics. BANA promotes and facilitates the use, teaching, and production of braille. It publishes rules, interprets, and renders opinions pertaining to braille in all existing codes. It deals with codes now in existence or to be developed in the future, in collaboration with other countries using English braille. In exercising its function and authority, BANA considers the effects of its decisions on other existing braille codes and formats, the ease of production by various methods, and acceptability to readers. For more information and resources, visit www.brailleauthority.org. ii BANA Music Technical Committee, 2015 Lawrence R. Smith, Chairman Karin Auckenthaler Gilbert Busch Karen Gearreald Dan Geminder Beverly McKenney Harvey Miller Tom Ridgeway Other Contributors Christina Davidson, BANA Music Technical Committee Consultant Richard Taesch, BANA Music Technical Committee Consultant Roger Firman, International Consultant Ruth Rozen, BANA Board Liaison iii TABLE OF CONTENTS ACKNOWLEDGMENTS ..............................................................
  • Musical Rudiments

    Musical Rudiments

    Toronto Conservatory Text Book Series No. 1 MUSICAL RUDIMENTS By LEO SMITH MUS. BAC. MANCHESTER, ENG. HON FELLOW OF THE ROYAL MANCHESTER COLLEGE OF MUSIC 75 ce n t s Boston, M ass. THE BOSTON MUSIC COMPANY NEW YORK: G. SCHIRMER CONTENTS Chapter Page I. Preliminaries; So u n d s; N o ta tio n i II. Sc a l e s ....................................................... 10 III. In t e r v a l s ............. ............ 27 IV. T ime an d R h y t h m ............................. 36 V. C om pressed an d O pen S c o r e ; - the C -C l e f ; T ransposition .. 51 VI. Orn am en ts; A g r e m e n s; G r a c e s .. 60 VII. T r ia d s; the C ommon C hord an d its In v e r s io n s; th e D o m in an t- S even th .............................................. 70 VIII. M a r k s of E x p r e s s io n ; I ta lia n V o c a b u l a r y ; A bbreviations ; D e f in it io n s ........................................ 81 Questions and E x er cises (C hapters I - V I I I ) ........................................ 99 Copyright, 1920, by The Boston Music Co. B. M. Co. 6418 MUSICAL RUDIMENTS CHAPTER I PRELIMINARIES; SOUNDS; NOTATION 1. Music, according to a French philosophi­ cal school, is “ The art of thinking in sounds.” The formulating of such sounds into artistic design so as to establish a counterpart with utterance and thought1 and reflection of life, con­ stitutes the story of music and is of fascinating interest to those who would pursue it.
  • Complete Method

    Complete Method

    C O M P L E T E M E T H O D F OR THE O F M USIC , AND A OR G A NEW. I INAL. AND PROGRESSIVE KOBE OF ACQUIRING IN TERSPEBSED WITH A PLEA SIN G VA RIETY OF PO PULA R SONG S AND NATIONAL MELODIES. O T T O F E D E R . BO STO N PUBLISHED BY I ER m a A SHIN G TO N ST. 0L V sox co . W _ _ , N E W H WT O N Y O RK : 8 T G O RDO N . LA EL H A LA . P I D P I BECK C lN ClN N A Tl : TRUA X A: BA LDWI N P R E F A C E . a ua nted w th th e nstru ti n b s b th wh o want to a the u tar n o a m an ment a T n o s s who are cq i i i c o ook i pl y G i o ly f r cco p i , h ve o r an a o lo een dul c n s r the G uitar wi s ar e lo ok f dered. But fo r t em s e rto publis hed fo , ll c c ly p gy b y o i h , thi volume would have In ven een en ar whe a n ew bo o k th s nd is a d e re them. e d b a e ti n o f G atrc ht e es as it i s the n of i ki l i b fo b l g y coll c o a e pi c , tu s as s ert n do n t resume to int mate that c o n rs t two arts are ndis ens a e to the student who w u d la rin g thi io , I o p i I fi p i p bl o l p y the uitar as de d o f mer t a m an ments that desm e h sider h e e s t n meth ds fo r .
  • Strecket Att Komponera För Jazzmusiker

    Strecket Att Komponera För Jazzmusiker

    Kurs: DA1005 Självständigt arbete, 30 hp 2015 Konstnärlig masterexamen i musik, 120 hp Institutionen för komposition, dirigering och musikteori Handledare: Anna Einarsson Mika Pohjola Strecket Att komponera för jazzmusiker Skriftlig reflektion inom självständigt, konstnärligt arbete Det självständiga, konstnärliga arbetet finns dokumenterat på härintill bifogade partitur och inspelning på internet: • Wedding March • Anonymous Creed • Three Limited Pieces Innehållsförteckning Strecket................................................................................................................................3 Ett Barndomsminne: Claude Debussys pianomusik........................................................... 4 Biografi: musikaliska referenser..........................................................................................7 Stilkompatibilitet inom jazzen...........................................................................................11 Jazzmusikers musikaliska karaktär....................................................................................11 Notation............................................................................................................................. 15 Tradition – klang, jamkultur och repetition.......................................................................20 Pulsuppfattning..................................................................................................................22 Att jobba med jazzmusiker................................................................................................26
  • Music Dictionary

    Music Dictionary

    Nitschmann Middle School Music Dictionary Principal Words and Symbols used in Modern Music Daniel Zettlemoyer 2010‐2011 # 8va Play the notes indicated up one octave (eight notes higher). 8vb Play the notes indicated one octave lower (eight notes lower). A Accerlerando Gradually increasing in speed, to slowly get faster Accent Emphasis on certain parts of a measure Adagio Slowly, leisurely Ad libitum (ad lib.) Not in strict time A due (a 2) To be played by both instruments Agitato Restless, with agitation Al or Alla In the style of Alla Marcia In the style of a March Allegretto Slower than allegro, moderately fast, faster than andante Allegro Lively, brisk Allegro assai Very rapidly Amoroso Affectionately Andante In moderate slow time Andantino Strictly slower than andante Anima, con Animato With animation A piacere At pleasure; EQuivalent to ad libitum Appassionato Impassioned Arpeggio A broken chord Assai Very, A tempo In the original tempo Attacca Attack or begin what follows without pausing B Barcarolle A Venetian boatman’s song Bis Twice, repeat the passage Bravura Brilliant; bold, spirited Brio, con With much spirit C Cadenza An elaborate, florid passage introduced as an embellishment Cantabile In a singing style Canzonetta A short song or air Capriccio a At pleasure, ad libitum Cavatina An air, shorter and simpler than the aria, and in one division without Da Capo Chord The harmony of three or more tones of different pitch produced simultaneously Coda A supplement at the end of a composition Col or con With Col legno Playing with the wood (bow‐stick) part of the bow.
  • Back Cover Image

    Back Cover Image

    110305 rr Casals EU 7/7/05 11:09 am Page 1 CMYK NAXOS HistoricalNAXOS 8.110305 BOCCHERINI • HAYDN • ELGAR Playing ADD Cello Concertos Time ൿ THIS COMPACTAND COPYINGOF BROADCASTING DISC PROHIBITED. UNAUTHORISED PUBLIC PERFORMANCE, RESERVED. TRANSLATIONS ALLAND TEXTS ARTWORK, THIS SOUNDRECORDING, RIGHTS IN 8.110305 Pablo Casals (1876-1973) 79:23 & Ꭿ 2005 Naxos RightsInternational Ltd. BOCCHERINI: Cello Concerto in B flat 22:08 Despite his eminence, Pablo (arr. Grützmacher) Casals did not make a 1 I Allegro moderato 9:00 substantial recording with an 2 II Adagio 6:12 3 III Rondo: Allegro 6:54 orchestra until he was in his London Symphony Orchestra conducted by Landon Ronald early fifties. Unlike violin Recorded by HMV, Abbey Road Studio London, 2nd May 1938 concertos, cello concertos were (matrices 2EA 4156161) catalogue DB 305618 not considered a priority by the HAYDN: Cello Concerto in D, Op. 101 (arr. Gevaërt) 17:37 record companies, while Casals CASALS: CelloConcertos 4 I Allegro moderato 12:43 himself seems not to have been 5 II Adagio 4:52 in a hurry to make discs of any Note: the third movement of this Concerto was not recorded kind. The HMV concerto BBC Symphony Orchestra conducted by Adrian Boult recordings, made in the 1930s Recorded by HMV, Abbey Road Studio London, 15th October 1945 and 1940s when the great cellist (matrices 2EA 10648150) unpublished on 78rpm was in his sixties, are among the ELGAR: Cello Concerto in E minor, Op. 85 27:41 finest documents of Casals. In 6 I Adagio-Moderato 7:50 the Elgar Concerto, which CASALS: Cello Concertos 7 II Lento-Allegro molto 4:43 8 III Adagio 4:03 benefits from the superb 9 IV Allegro 11:02 backing of his friend Adrian BBC Symphony Orchestra conducted by Adrian Boult Boult, Casals at 68 is still in Recorded by HMV, Abbey Road Studio London, 14th October 1945 glorious form.
  • Musical Symbols Range: 1D100–1D1FF

    Musical Symbols Range: 1D100–1D1FF

    Musical Symbols Range: 1D100–1D1FF This file contains an excerpt from the character code tables and list of character names for The Unicode Standard, Version 14.0 This file may be changed at any time without notice to reflect errata or other updates to the Unicode Standard. See https://www.unicode.org/errata/ for an up-to-date list of errata. See https://www.unicode.org/charts/ for access to a complete list of the latest character code charts. See https://www.unicode.org/charts/PDF/Unicode-14.0/ for charts showing only the characters added in Unicode 14.0. See https://www.unicode.org/Public/14.0.0/charts/ for a complete archived file of character code charts for Unicode 14.0. Disclaimer These charts are provided as the online reference to the character contents of the Unicode Standard, Version 14.0 but do not provide all the information needed to fully support individual scripts using the Unicode Standard. For a complete understanding of the use of the characters contained in this file, please consult the appropriate sections of The Unicode Standard, Version 14.0, online at https://www.unicode.org/versions/Unicode14.0.0/, as well as Unicode Standard Annexes #9, #11, #14, #15, #24, #29, #31, #34, #38, #41, #42, #44, #45, and #50, the other Unicode Technical Reports and Standards, and the Unicode Character Database, which are available online. See https://www.unicode.org/ucd/ and https://www.unicode.org/reports/ A thorough understanding of the information contained in these additional sources is required for a successful implementation.
  • Accelerando: Gradually Faster Ad Libitum, Ad Lib.: at the Performer's Liberty Adagio: Very Slow Agitato: Excited, Agitated, Hect

    Accelerando: Gradually Faster Ad Libitum, Ad Lib.: at the Performer's Liberty Adagio: Very Slow Agitato: Excited, Agitated, Hect

    Accelerando: gradually faster Crescendo, cresc.: get louder Gradualmente: gradually, by degrees Ad libitum, ad lib.: at the Cuivres, cuivré: brass, brassy performer's liberty sound Grandioso: grandly, in an imposing manner Adagio: very slow Da Capo Al Fine, D.C. al fine: repeat from the beginning until Grave: extremely slow and Agitato: excited, agitated, the word Fine solemn hectic Da Capo, D.C.: repeat from the Grazioso: in a graceful style Al fine: to the end beginning Guisto: equal, steady Alla: to the, at the,in the Dal Segno, D.S.: repeat from manner of the sign Jubiloso: exulting Alla breve: in cut time, in short Decrescendo, decresc.: get Largo: slow, broad quieter Allargando: gradually slower Legato: smoothly and broader, widening Delicato: delicately, tender, Leggiero: light, lightly sensitive Allegro: lively, rather quick, Lento: slow cheerful, blithe Diminuendo, dim.: get quieter L'istesso: the same Amabile: sweet, loveable Divisi: separated parts Maestoso: majestic, grand Andante: rather slow, at a Dolce: sweet, gentle, tender moderate pace Marcato: marked, emphatic Dolore, Doloroso: grief, sorrow, pain Animato: life, lively, animated Meno: less Elegante, eleganza: graceful, Appassionato: passionate, Mezzo: half, middle eager, heated elegant Misterioso: mysterious, Energico: energetic, vigorous Assai: very, highly, heartily suspicious Espressivo: expressive, soulful Attacca: directly on to the next Moderato: moderate speed section without break Fermata: a pause or hold Molto: very Brillant, Brillante: bright, Fin, Fine: end
  • Tutorial & Reference Manual

    Tutorial & Reference Manual

    TUTORIAL & REFERENCE MANUAL Compiled by Luis E. Juan, 2002 r. 05 2 INDEX TUTORIAL .................................................................................................................................................... 9 RUNNING ENCORE ................................................................................................................................. 9 OPENING A FILE..................................................................................................................................... 9 SPLITTING THE STAFF .......................................................................................................................... 10 SETTING THE KEY SIGNATURE.............................................................................................................. 11 ADDING A PICKUP BAR......................................................................................................................... 12 ENTERING A NOTE ............................................................................................................................... 13 MIDI PLAYBACK .................................................................................................................................. 14 ADDING MEASURE NUMBERS ............................................................................................................... 17 DRAGGING TO A NEW PITCH................................................................................................................. 17 ENTERING AN ACCIDENTAL..................................................................................................................