RCM Saxophone Syllabus / 2014 Edition
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BROWNIE the Complete Emarcy Recordings of Clifford Brown Including Newly Discovered Essential Material from the Legendary Clifford Brown – Max Roach Quintet
BROWNIE The Complete Emarcy Recordings of Clifford Brown Including Newly Discovered Essential Material from the Legendary Clifford Brown – Max Roach Quintet Dan Morgenstern Grammy Award for Best Album Notes 1990 Disc 1 1. DELILAH 8:04 Clifford Brown-Max RoaCh Quintet: (V. Young) Clifford Brown (tp), Harold Land (ts), Richie 2. DARN THAT DREAM 4:02 Powell (p), George Morrow (b), Max RoaCh (De Lange - V. Heusen) (ds) 3. PARISIAN THOROUGHFARE 7:16 (B. Powell) 4. JORDU 7:43 (D. Jordan) 5. SWEET CLIFFORD 6:40 (C. Brown) 6. SWEET CLIFFORD (CLIFFORD’S FANTASY)* 1:45 1~3: Los Angeles, August 2, 1954 (C. Brown) 7. I DON’T STAND A GHOST OF A CHANCE* 3:03 4~8: Los Angeles, August 3, 1954 (Crosby - Washington - Young) 8. I DON’ T STAND A GHOST OF A CHANC E 7:19 9~12: Los Angeles, August 5, 1954 (Crosby - Washington - Young) 9. STOMPIN’ AT TH E SAVOY 6:24 (Goodman - Sampson - Razaf - Webb) 10. I GET A KICK OUT OF YOU 7:36 (C. Porter) 11. I GET A KICK OUT OF YOU* 8:29 * Previously released alternate take (C. Porter) 12. I’ LL STRING ALONG WITH YOU 4:10 (Warren - Dubin) Disc 2 1. JOY SPRING* 6:44 (C. Brown) Clifford Brown-Max RoaCh Quintet: 2. JOY SPRING 6:49 (C. Brown) Clifford Brown (tp), Harold Land (ts), Richie 3. MILDAMA* 3:33 (M. Roach) Powell (p), George Morrow (b), Max RoaCh (ds) 4. MILDAMA* 3:22 (M. Roach) Los Angeles, August 6, 1954 5. MILDAMA* 3:55 (M. Roach) 6. -
Ron Mcclure • Harris Eisenstadt • Sackville • Event Calendar
NEW YORK FebruaryVANGUARD 2010 | No. 94 Your FREE Monthly JAZZ Guide to the New ORCHESTRA York Jazz Scene newyork.allaboutjazz.com a band in the vanguard Ron McClure • Harris Eisenstadt • Sackville • Event Calendar NEW YORK We have settled quite nicely into that post-new-year, post-new-decade, post- winter-jazz-festival frenzy hibernation that comes so easily during a cold New York City winter. It’s easy to stay home, waiting for spring and baseball and New York@Night promising to go out once it gets warm. 4 But now is not the time for complacency. There are countless musicians in our fair city that need your support, especially when lethargy seems so appealing. To Interview: Ron McClure quote our Megaphone this month, written by pianist Steve Colson, music is meant 6 by Donald Elfman to help people “reclaim their intellectual and emotional lives.” And that is not hard to do in a city like New York, which even in the dead of winter, gives jazz Artist Feature: Harris Eisenstadt lovers so many choices. Where else can you stroll into the Village Vanguard 7 by Clifford Allen (Happy 75th Anniversary!) every Monday and hear a band with as much history as the Vanguard Jazz Orchestra (On the Cover). Or see as well-traveled a bassist as On The Cover: Vanguard Jazz Orchestra Ron McClure (Interview) take part in the reunion of the legendary Lookout Farm 9 by George Kanzler quartet at Birdland? How about supporting those young, vibrant artists like Encore: Lest We Forget: drummer Harris Eisenstadt (Artist Feature) whose bands and music keep jazz relevant and exciting? 10 Svend Asmussen Joe Maneri In addition to the above, this month includes a Lest We Forget on the late by Ken Dryden by Clifford Allen saxophonist Joe Maneri, honored this month with a tribute concert at the Irondale Center in Brooklyn. -
Claude Debussy in 2018: a Centenary Celebration Abstracts and Biographies
19-23/03/18 CLAUDE DEBUSSY IN 2018: A CENTENARY CELEBRATION ABSTRACTS AND BIOGRAPHIES Claude Debussy in 2018: A Centenary Celebration Abstracts and Biographies I. Debussy Perspectives, 1918-2018 RNCM, Manchester Monday, 19 March Paper session A: Debussy’s Style in History, Conference Room, 2.00-5.00 Chair: Marianne Wheeldon 2.00-2.30 – Mark DeVoto (Tufts University), ‘Debussy’s Evolving Style and Technique in Rodrigue et Chimène’ Claude Debussy’s Rodrigue et Chimène, on which he worked for two years in 1891-92 before abandoning it, is the most extensive of more than a dozen unfinished operatic projects that occupied him during his lifetime. It can also be regarded as a Franco-Wagnerian opera in the same tradition as Lalo’s Le Roi d’Ys (1888), Chabrier’s Gwendoline (1886), d’Indy’s Fervaal (1895), and Chausson’s Le Roi Arthus (1895), representing part of the absorption of the younger generation of French composers in Wagner’s operatic ideals, harmonic idiom, and quasi-medieval myth; yet this kinship, more than the weaknesses of Catulle Mendès’s libretto, may be the real reason that Debussy cast Rodrigue aside, recognising it as a necessary exercise to be discarded before he could find his own operatic voice (as he soon did in Pelléas et Mélisande, beginning in 1893). The sketches for Rodrigue et Chimène shed considerable light on the evolution of Debussy’s technique in dramatic construction as well as his idiosyncratic approach to tonal form. Even in its unfinished state — comprising three out of a projected four acts — the opera represents an impressive transitional stage between the Fantaisie for piano and orchestra (1890) and the full emergence of his genius, beginning with the String Quartet (1893) and the Prélude à l’Après-midi d’un faune (1894). -
Belle Epoque` SUPER AUDIO CD
SUPER AUDIO CD ` FRENCH Belle MUSIC Epoque FOR WIND Orsino Ensemble with Pavel Kolesnikov piano André Caplet, c. 1898 Royal College of Music / ArenaPAL Belle Époque: French Music for Wind Albert Roussel (1869 – 1937) 1 Divertissement, Op. 6 (1906) 6:59 for Flute, Oboe, Clarinet, Bassoon, Horn, and Piano À la Société Moderne d’Instruments à vent Animé – En retenant – Un peu moins animé – En animant – Animé (Premier mouvement) – Un peu moins animé – En retenant progressivement – Lent – Animez un peu – Lent – En animant peu à peu – Animé – Un peu moins animé – Lent – Animé (Premier mouvement) – Moins vite et en retenant – Très modéré 3 Achille-Claude Debussy (1862 – 1918) 2 Petite Pièce (1910) 1:29 Morceau à déchiffrer pour le concours de clarinette de 1910 (Piece for sight-reading at the clarinet competition of 1910) for Clarinet and Piano Modéré et doucement rythmé – Un peu retenu 3 Première Rhapsodie (1909 – 10) 8:20 for Clarinet and Piano À P. Mimart Rêveusement lent – Poco mosso – Scherzando. Le double plus vite – En retenant peu à peu – Tempo I – Le double plus vite – Un peu retenu – Modérément animé (Scherzando) – Un peu retenu – Plus retenu – A tempo (Modérément animé) – Même mouvement – Même mouvement – Scherzando – Tempo I – Animez et augmentez, peu à peu – Animez et augmentez toujours – Animé – Plus animé (Scherzando) – Un peu retenu – Au mouvement 4 Camille Saint-Saëns (1835 – 1921) 4 Romance, Op. 36 (1874) 3:41 in F major • in F-Dur • en fa majeur Fourth Movement from Suite for Cello and Piano, Op. 16 (1862) Arranged by the Composer for Horn and Piano À Monsieur J. -
CLAUDE DEBUSSY in 2018: a CENTENARY CELEBRATION PROGRAMME Monday 19 - Friday 23 March 2018 CLAUDE DEBUSSY in 2018: a CENTENARY CELEBRATION
19-23/03/18 CLAUDE DEBUSSY IN 2018: A CENTENARY CELEBRATION PROGRAMME Monday 19 - Friday 23 March 2018 CLAUDE DEBUSSY IN 2018: A CENTENARY CELEBRATION Patron Her Majesty The Queen President Sir John Tomlinson CBE Principal Professor Linda Merrick Chairman Nick Prettejohn To enhance everyone’s experience of this event please try to stifle coughs and sneezes, avoid unwrapping sweets during the performance and switch off mobile phones, pagers and digital alarms. Please do not take photographs or video in 0161 907 5555 X the venue. Latecomers will not be admitted until a suitable break in the 1 2 3 4 5 6 programme, or at the first interval, whichever is the more appropriate. 7 8 9 * 0 # < @ > The RNCM reserves the right to change artists and/or programmes as necessary. The RNCM reserves the right of admission. 0161 907 5555 X 1 2 3 4 5 6 7 8 9 * 0 # < @ > Welcome It gives me great pleasure to welcome you to Claude Debussy in 2018: a Centenary Celebration, marking the 100th anniversary of the death of Claude Debussy on 25 March 1918. Divided into two conferences, ‘Debussy Perspectives’ at the RNCM and ‘Debussy’s Late work and the Musical Worlds of Wartime Paris’ at the University of Glasgow, this significant five-day event brings together world experts and emerging scholars to reflect critically on the current state of Debussy research of all kinds. With guest speakers from 13 countries, including Brazil, China and the USA, we explore Debussy’s editions and sketches, critical and interpretative approaches, textual and cultural-historical analysis, and his legacy in performance, recording, composition and arrangement. -
An Ultrasonographic Observation of Saxophonists' Tongue Positions
An Ultrasonographic Observation of Saxophonists’ Tongue Positions While Producing Front F Pitch Bends by Ryan C. Lemoine A Research Paper Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts Approved April 2016 by the Graduate Supervisory Committee: Joshua Gardner, Co-Chair Christopher Creviston, Co-Chair Sabine Feisst Robert Spring ARIZONA STATE UNIVERSITY May 2016 ©2016 Ryan C. Lemoine All Rights Reserved ABSTRACT Voicing, as it pertains to saxophone pedagogy, presents certain obstacles to both teachers and students simply because we cannot visually assess the internal mechanics of the vocal tract. The teacher is then left to instruct based on subjective “feel” which can lead to conflicting instruction, and in some cases, misinformation. In an effort to expand the understanding and pedagogical resources available, ten subjects—comprised of graduate-level and professional-level saxophonists— performed varied pitch bend tasks while their tongue motion was imaged ultrasonographically and recorded. Tongue range of motion was measured from midsagittal tongue contours extracted from the ultrasound data using a superimposed polar grid. The results indicate variations in how saxophonists shape their tongues in order to produce pitch bends from F6. i ACKNOWLEDGMENTS I would like to acknowledge and thank the saxophonist who volunteered their time to make this study possible. Also a special thanks to the members of my doctoral committee: Joshua Gardner, Christopher Creviston, Sabine Feisst, and Robert Spring. They have all been sources of encouragement and inspiration, not only during these final stages of my degree process, but for the duration of my studies at Arizona State University. -
Benesh Movement Notation Score Catalogue: an International Listing of Benesh Movement Notation Scores of Professional Dance Works, Recorded 1955-1998 Ed
Extraction from: Benesh Movement Notation Score Catalogue: An International listing of Benesh Movement Notation scores of professional dance works, recorded 1955-1998 Ed. Inman, T. © Royal Academy of Dance, London, 1998 All scores listed are unpublished and are not necessarily available for general use. The Institue has endeavoured to gather information of all existing notated choreographic works, however, the omission of certain titles does not necessarily mean that no notation of the work exists. Score Lodgement: Numbered scores – a copy is held in the Philip Richardson Library for public viewing. SK: Safe Keeping – not available for public vewing. Educational Use: Scores available for educational use. Choreographer Work Composer Notator Score Educational Lodgement Use ACHCAR, D. Nutcracker, The (excerpts) Tchaikovsky, P. I. Schroeder, C. - ACHCAR, D. / ASHTON, F. Floresta Amazônica Villa-Lobos, H. Parker, M. - AILEY, A. Myth (excerpts) Stravinsky, I. Suprun, I. - AILEY, A. River, The Ellington, D. Lindström, E. 523 AILEY, A. Night Creature Ellington, D. - AILEY, A. Night Creature (2nd & 3rd sections) Ellington, D. Suprun, I. - AITKEN, G. Naila Delibes, L. Marwood, J. - ALSTON, R. Apollo Distraught Osborne, N. Cunliffe, L. - EU ALSTON, R. Cat’s Eyes Sawer, D. Reeder, K. - ALSTON, R. Chicago Brass Hindemith, P. Braban, M. 374 EU ALSTON, R. Cinema Satie, E. Macourt, M. - ALSTON, R. Cutter Gowans, J.-M. Sandles, J. 481 ALSTON, R. Dangerous Liaisons Waters, S. Dyer, A. 430 EU ALSTON, R. Dealing with Shadows Mozart, W. A. Macourt, M. - ALSTON, R. Dutiful Ducks Armirkhanian, C. Tierney, P. 478 EU ALSTON, R. Hymnos Maxwell Davies, P. - ALSTON, R. Java The Ink Spots Dyer, A. -
HANDPICKED July 30-August 4 • Blue Note
WWW.JAZZINSIDEMAGAZINE.COM AUGUST 2013 Interviews Andrew Cyrille David Chesky Satoko Fujii Francisco Mela Dizzy’s Club, August 19 Roy Hargrove Big Band Blue Note, August 20-25 Marcus Strickland EARL Jazz Standard, August 13-14 Comprehensive Directory of NY Club Concert KLUGH & Event Listings HANDPICKED E view Section! July 30-August 4 • Blue Note xpanded CD Re The Jazz Music Dashboard — Smart Listening Experiences www.ConcordMusicGroup.com www.Chesky.com www.WhalingCitySound.com www.SatokoFujii.com The Stone August 20-25 Like Us facebook.com/JazzInsideMedia Follow Us twitter.com/JazzInsideMag Watch Us youtube.com/JazzInsideMedia TJC14_Ad_Jazz Inside.pdf 1 4/26/13 5:31 PM 13TH ANNUAL SAILING OF THE JAZZ CRUISE WHERE EVERY PERFORMANCE IS SPECIAL Ernie Adams Tony Kadleck John Allred Tom Kennedy Shelly Berg Joe LaBarbera MUSIC DIRECTOR Christoph Luty Alonzo Bodden COMEDIAN Dennis Mackrel Randy Brecker Manhattan Transfer Ann Hampton Callaway Marcus Miller Quartet Quartet Bill Charlap Trio Bob Mintzer Clayton Brothers Lewis Nash Trio Quintet Dick Oatts C Freddy Cole Trio M Ken Peplowski Kurt Elling Quartet SHOW HOST Y Robin Eubanks Houston Person CM Quartet John Fedchock MY BIG BAND DIRECTOR John Pizzarelli CY Quartet JAN. 26-FEB. 2 David Finck Gregory Porter Quartet CMY Chuck Findley 2014 K Poncho Sanchez Bruce Forman Arturo Sandoval Nnenna Freelon Trio Gary Smulyan Wycliffe Gordon GOSPEL SHOW HOST Cedar Walton Trio Jimmy Greene Jennifer Wharton Jeff Hamilton Niki Haris Antonio Hart Tamir Hendelman Dick Hyman Tommy Igoe Sextet Sean Jones TO L L -FREE US & C ANADA FT LAUDERDALE • TURKS & CAICOS • SAN JUAN 888.852.9987 ST. -
Audition Repertoire, Please Contact the Music Department at 812.941.2655 Or by E-Mail at AUDITION REQUIREMENTS for VARIOUS DEGREE CONCENTRATIONS
1 AUDITION GUIDE AND SUGGESTED REPERTOIRE 1 2 TABLE OF CONTENTS AUDITION REQUIREMENTS AND GUIDE . 3 SUGGESTED REPERTOIRE Piano/Keyboard . 5 STRINGS Violin . 6 Viola . 7 Cello . 8 String Bass . 10 WOODWINDS Flute . 12 Oboe . 13 Bassoon . 14 Clarinet . 15 Alto Saxophone . 16 Tenor Saxophone . 17 BRASS Trumpet/Cornet . 18 Horn . 19 Trombone . 20 Euphonium/Baritone . 21 Tuba/Sousaphone . 21 PERCUSSION Drum Set . 23 Xylophone-Marimba-Vibraphone . 23 Snare Drum . 24 Timpani . 26 Multiple Percussion . 26 Multi-Tenor . 27 VOICE Female Voice . 28 Male Voice . 30 Guitar . 33 2 3 The repertoire lists which follow should be used as a guide when choosing audition selections. There are no required selections. However, the following lists illustrate Students wishing to pursue the Instrumental or Vocal Performancethe genres, styles, degrees and difficulty are strongly levels encouraged of music that to adhereis typically closely expected to the of repertoire a student suggestionspursuing a music in this degree. list. Students pursuing the Sound Engineering, Music Business and Music Composition degrees may select repertoire that is slightly less demanding, but should select compositions that are similar to the selections on this list. If you have [email protected] questions about. this list or whether or not a specific piece is acceptable audition repertoire, please contact the Music Department at 812.941.2655 or by e-mail at AUDITION REQUIREMENTS FOR VARIOUS DEGREE CONCENTRATIONS All students applying for admission to the Music Department must complete a performance audition regardless of the student’s intended degree concentration. However, the performance standards and appropriaterequirements audition do vary repertoire.depending on which concentration the student intends to pursue. -
2012-2013 Mostly Music: Debussy
Upcoming Events GUEST PIANIST WEEKEND WITH ORY SHIHOR MASTER CLASSES Sponsored by Esther and Arnold Kossoff Saturday, Feb. 9 at 10 a.m. and 1 p.m. Ory Shihor, an award-winning pianist, educator and arts administrator, is director of the Colburn Academy and faculty member in the Colburn Conservatory in Los Angeles. He studied with Jorge Bolet at the Curtis Institute of Music and later graduated from the Juilliard School, where he was a recipient of the prestigious Gina Bachauer Prize. He earned his Master of Music degree from the University of Southern California. Shihor is a winner of the Young Concert Artists International Auditions, a prize winner at the 9th Arthur Rubinstein International Piano Master Competition and was the first prize winner at the Washington International Piano Competition. Students from the conservatory piano studios, solo and collaborative, will perform in the class. Amarnick-Goldstein Concert Hall Free David Balko, piano technician MOSTLY MUSIC: DEBUSSY Thursday, Jan. 24 at 7:30 p.m. LYNN PHILHARMONIA NO. 2 Amarnick-Goldstein Concert Hall Boca Raton, Fla. Guillermo Figueroa, guest conductor Saturday, Feb. 2 at 7:30 p.m. PROGRAM Sunday, Feb. 3 at 4 p.m. Berlioz: Overture to Le Corsaire Claude Debussy Saint-Saens: Violin Concerto No. 3 (1862-1918) Elmar Oliveira, violin Shostakovich: Symphony No. 5 Syrinx for Solo Flute Keith C. and Elaine Johnson Wold (La Flûte de Pan) Performing Arts Center BOX ORCHESTRA MEZZANINE Douglas DeVries, flute $50 $40 $35 STUDENT RECITALS Tuesday, Feb. 5 String Quartet in G Minor, Op. 10 Animé e très décidé 3:30 p.m. -
Draft Grabs Pair from Basie Band Eaders Brothers Illed in Crashes TD
Petrillo And His Board Meet To MullBanRepeai New York As Down Orel went to trees, Junes C. Petrillo nnd iiuhii •era of the exec nth e eanunittee of the AFM were gathering in Chicago (OeU 8) to con»id< r action on a ]M*r*onal nqnr.1 lo thr union l>rf«r dent (run, President Roosevelt far a repeal of the bon on recording. The telegram from the nation's president, received by Petrillo the By Mike Levin previous urrh. ealleel attention to the fact that the WLB riding in the •Still Jim Crow** diac hearing contained a directive Has! eqlumn I got good and calling for a reatunption of rerord- ead about this deal, and I’m ing. fill going on it Being mad Roosevelt's win “requested” Pe pesoit usually make good copy; trillo to lift thw ban. because con- buallv only Peglerisms result tinurd refnvsl to comply with the hit this Is one topic where I WLB directive might inspire other kink musicians should get mad Ed stay mad. might impede the war effort Indi- [There certainly Is enough grief rertly, the tel» grain itated. haming around the world these Petrillo replied that he would eall toys without unnecessarily add- a meeting of the executive eommit- hg problems we have already tee immediately to mmider th« re ■oven can be solved. quest, but that it would requite a rA lot of people the world over few days for all members to reach lave spent the last six years Chicago from various parts nf the Ighting to get a chance to jolve ¡heir own deals, the Chinese tavr been at it for over 12 years. -
Jazz Upand Down
Volume 39 • Issue 8 September 2011 Journal of the New Jersey Jazz Society Dedicated to the performance, promotion and preservation of jazz. Guitarist Jim Hall warms up for his performance in the Eastman School of Music’s stately Kilbourn Hall at the 10th Xerox Rochester International Jazz Festival in June. Photo by Mitchell Seidel. Jazz Up and Down By Mitchell Seidel f you were going to use two upstate New York jazz festivals in June A week after Rochester shuttered for the year, Saratoga Springs played I as an example of the summer music scene, you’d be hard-pressed to host to its 34th annual jazz festival, sponsored in recent years by come away with a consensus. On one hand, it was robust and getting Freihofer’s. Started as a part of the Newport Jazz Festival in exile by better. On the other hand, it was losing strength. It all depends on George Wein in 1978 before his return to Rhode Island, in its early your venue and point of view. years it could draw about 17,000 people a day for a weekend at the Saratoga Performing Arts Center (SPAC). You can only guess at what The Xerox Rochester International Jazz Festival celebrated its tenth they draw now, because SPAC officials, who used to announce such edition with throngs of street minglers, sold-out concert halls and a figures the day of the event, were still withholding their statistics in sense of optimism that’s rare in these tough economic times. Just a August. Judging from previous figures and the lighter crowd this year, few blocks from the festival site, the city was eagerly tearing down the 5,500 people a day would be a generous guess.