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Dance Audition
Bak Middle School of the Arts Basic Guidelines for Virtual Audition SY21-22 All auditions will be held using a Google Meet and may include the use of a Google Classroom. If you are not a public-school student, please create a Gmail account (Gmail email) for the audition. “Bak Middle School of the Arts will not be recording and does not provide consent to being recorded.” No person, including parent/guardian, is permitted in the room or in the Google Meet during the audition process. No professional studios may be used. If connection is lost during the audition, re-join the Google Meet and wait for further instructions. Communication Arts Audition The Bak MSOA Communication curriculum includes: creative writing, journalism, newspaper and yearbook publications, radio and television broadcasting, video production, marketing/advertising/public relations, digital media, and speech & debate. At the Virtual Audition, on Google Meet, students will complete the following tasks: 1. Writing- Students will have fifteen minutes to compose a front-page article, in the style of a newspaper, based on the content of a photo that will be provided during the audition. Paper and pencil(s) will be needed. Note: Adjudicators will assess the Writing Prompt based on creativity, fiction writing techniques, narrative content, focus, organization, vivid vocabulary, and supporting details. 2. Public Speaking- Students will verbally present a memorized one-minute, original speech, using the topic, “Describe a time when you learned a valuable lesson.” Note: Adjudicators will assess the prepared speech/public speaking based on organization; vocal expression- including speech clarity, volume and well-defined delivery style; gestures; facial expression; body language; enthusiasm; and recovery. -
Core Instrumentation of the “Typical” American Community Concert Band: an Approach to Scoring Guidelines for Composers and Arrangers
Core Instrumentation of the “Typical” American Community Concert Band: An Approach to Scoring Guidelines for Composers and Arrangers Findings based on a 2012 Online survey by Composer/Conductor David Avshalomov, D.M.A 1 Approach In early 2012, after extensive observation of online email threads around the practical challenges of presenting concerts with community bands, the author decided to create and run an open online survey with the goal of gathering a sampling of reasonably reliable statistical information about the “typical” core instrumentation of a community concert band in the US. The definition of community concert band used here begins by distinguishing it from a full- instrumentation concert band or symphonic wind ensemble having all the “outlier/outsize” instruments and generally carrying only one (or perhaps at most two) players per part except for Bb clarinets. In the US these full bands are almost exclusively conservatory, university, college, community college, or advanced/large high school ensembles. Few professional concert bands exist in the US. The definition of community concert band here also excludes marching bands—school, municipal, or private—as these too have a separate and distinct instrumentation profile. Although there are some community concert bands that have fairly full instrumentation, initial observations from the survey results confirm that most, if not all, have what could be characterized as significant gaps by comparison with the “full” symphonic wind ensemble. They also often have much heavier doublings in certain common sections such as flutes and clarinets. GOAL: The intention of the survey was to draw a rough line around a “safe” core scoring, and additionally to define tentative guidelines for the inclusion of instruments outside that line, for composers and arrangers who wish to serve the community concert band population with music targeted to such groups’ strengths, not their weaknesses. -
Percussion Syllabus
Table of Contents Message from the President . .4 RCM Examinations at Preface . .5 www.rcmexaminations.org . .5 SECTION 1 — GENERAL INFORMATION Application Forms . .6 ARCT Examinations . .9 Application Procedure and Deadlines . .6 Credits for Musicianship . .10 Examination Schedules . .6 Certificates and Diplomas . .10 Examination Centres . .7 Secondary School Music Credits . .11 Fee Extensions and Refunds . .7 Registered Education Savings Plan (RESP) Examination Results . .8 Eligibility . .11 The Examiner’s Evaluation . .8 Gold and Silver Medals . .12 Theory Examinations: Prerequisites and Co-requisites . .8 SECTION 2 — EXAMINATION REQUIREMENTS Examination Repertoire . .13 Examination Procedures . .15 Da capo Signs and Repeats . .13 Instruments, Sticks, and Mallets . .15 Memory . .13 Music . .15 Syllabus Repertoire Lists . .13 Accompanists . .16 Editions . .13 Candidates with Special Needs . .16 Availability . .14 Table of Marks . .16 Anthologies and Collections . .14 Classification of Marks . .17 Orchestral Excerpts . .14 Supplemental Examinations . .17 Copyright and Photocopying . .14 Abbreviations . .19 Repertoire Substitutions . .14 Names of Publishers . .19 Substitutions from the Percussion Syllabus . .14 Other Abbreviations and Symbols . .20 Substitutions Requiring Approval . .15 Own Choice Substitutions . .15 SECTION 3 — PRACTICAL EXAMINATIONS Technical Requirements . .21 Grade 6 . .38 Rudiments . .22 Grade 8 . .43 Table of Rudiments by Grade . .25 Grade 9 . .49 Grade 1 . .26 Grade 10 . .55 Grade 2 . .29 Performer’s ARCT . .61 Grade 4 . .34 Teacher’s ARCT . .65 SECTION 4 — THEORY EXAMINATIONS Rudiments . .69 Music History . .70 Harmony, Keyboard Harmony, Musicianship . .70 Counterpoint, and Analysis . .69 Classification of Theory Marks . .70 SECTION 5 — BIBLIOGRAPHY General Resources . .71 Orchestral Excerpts . .74 Sight Reading and Ear Training . .71 Rudiments and Rhythm Dictionaries . .74 Official Examination Papers . -
Elton John and Billy Joel
TECHNICAL REQUIREMENTS: Back To Back - Elton John and Billy Joel GENERAL: In our experience we have for the most part found the house techs/sound companies as provided by host orchestras to be highly competent professionals who know and understand the needs of their orchestra and their performance venue. As such we are comfortable in trusting their recommendation and expertise. Conceptually all Jeans ‘n Classics productions are designed to feature the sound of the orchestra and as such the band and the orchestra should be equally sharing the musical picture as opposed to the orchestra being mixed into the back ground. The following are simply guidelines. MICS - BAND & SINGERS: Lead Vocalist (s) - 1 lead vocal mic required (cordless) - 1 lead vocal mic required (cordless)- Back Up Vocalist (s) - 2 backup vocal mics required (cordless) Band - 1 vocal mic required at piano MICS - ORCHESTRA: Strings - Contact mics on all strings is ideal - If impossible separate mics per player or minimally 1 mic per desk Winds - 1 mic per wind Brass - 1 mic per brass instrument Percussion - Individual mics on the congas/bongos area - Ambient mics on the "toys" for wind chime, tambourine etc, where the player can approach the mic - Individual mics on the vibes/marimbas area - Timpani and bass drums may or may not need ambient mics depending on the venue Special - up front solo violin on "Piano Man" BAND INSTRUMENTS: Electric Bass - Bass player will need DI line, or in some cases may bring his own ears / (Mitch Tyler) mixer and therefore will need a line to the mixer - Bass guitar to be provided: - 4- String Fender Precision (American made preferred) with strap Guitars - 1 DI lines will be required for an acoustic guitar played by lead vocalist from time to time - 2 guitar stands to be provided Piano - Grand piano will be required please. -
MOXF6/MOXF8 Data List 2 Voice List
Data List Table of Contents Voice List..................................................2 Drum Voice List ......................................12 Drum Voice Name List............................. 12 Drum Kit Assign List ................................ 13 Waveform List ........................................32 Performance List ....................................45 Master Assign List ..................................47 Arpeggio Type List .................................48 Effect Type List.......................................97 Effect Parameter List..............................98 Effect Preset List ..................................106 Effect Data Assign Table......................108 Mixing Template List ............................116 Remote Control Assignments...............117 Control List ...........................................118 MIDI Data Format.................................119 MIDI Data Table ...................................123 MIDI Implementation Chart...................146 EN Voice List PRE1 (MSB=63, LSB=0) Category Category Number Voice Name Element Number Voice Name Element Main Sub Main Sub 1 A01 Full Concert Grand Piano APno 2 65 E01 Dyno Wurli Keys EP 2 2 A02 Rock Grand Piano Piano Modrn 2 66 E02 Analog Piano Keys Synth 2 3 A03 Mellow Grand Piano Piano APno 2 67 E03 AhrAmI Keys Synth 2 4 A04 Glasgow Piano APno 4 68 E04 Electro Piano Keys EP 2 5 A05 Romantic Piano Piano APno 2 69 E05 Transistor Piano Keys Synth 2 6 A06 Aggressive Grand Piano Modrn 3 70 E06 EP Pad Keys EP 3 7 A07 Tacky Piano Modrn 2 71 E07 -
Drum Kit List
DRUM KIT LIST LISTE DES KITS DE BATTERIE LISTA DE CONJUNTOS DE BATERÍA DRUM KIT-LISTE Drum Kit List / Liste des kits de batterie/ Lista de conjuntos de batería / Drum Kit-Liste • Same as Standard Kit 1 • Comme pour Standard Kit 1 • No Sound • Absence de son • Each percussion voice uses one note. • Chaque sonorité de percussion utilise une note unique. Voice No. 117 118 119 120 121 122 Keyboard Standard Kit 1 Standard Kit 1 Indian Kit Arabic Kit SE Kit 1 SE Kit 2 Note# Note + Chinese Percussion C1 36 C 1 Seq Click H Baya ge Khaligi Clap 1 Cutting Noise 1 Phone Call C#1 37 C# 1Brush Tap Baya ke Arabic Zalgouta Open Cutting Noise 2 Door Squeak D1 38 D 1 Brush Swirl Baya ghe Khaligi Clap 2 Door Slam D#1 39 D# 1Brush Slap Baya ka Arabic Zalgouta Close String Slap Scratch Cut E1 40 E 1 Brush Tap Swirl Tabla na Arabic Hand Clap Scratch F1 41 F 1 Snare Roll Tabla tin Tabel Tak 1 Wind Chime F#1 42 F# 1Castanet Tablabaya dha Sagat 1 Telephone Ring G1 43 G 1 Snare Soft Dhol 1 Open Tabel Dom G#1 44 G# 1Sticks Dhol 1 Slap Sagat 2 A1 45 A 1 Bass Drum Soft Dhol 1 Mute Tabel Tak 2 A#1 46 A# 1 Open Rim Shot Dhol 1 Open Slap Sagat 3 B1 47 B 1 Bass Drum Hard Dhol 1 Roll Riq Tik 3 C2 48 C 2 Bass Drum Dandia Short Riq Tik 2 C#2 49 C# 2 Side Stick Dandia Long Riq Tik Hard 1 D2 50 D 2 Snare Chutki Riq Tik 1 D#2 51 D# 2 Hand Clap Chipri Riq Tik Hard 2 E2 52 E 2 Snare Tight Khanjira Open Riq Tik Hard 3 Flute Key Click Car Engine Ignition F2 53 F 2 Floor Tom L Khanjira Slap Riq Tish Car Tires Squeal F#2 54 F# 2 Hi-Hat Closed Khanjira Mute Riq Snouj 2 Car Passing -
FA-06 and FA-08 Sound List
Contents Studio Sets . 3 Preset/User Tones . 4 SuperNATURAL Acoustic Tone . 4 SuperNATURAL Synth Tone . 5 SuperNATURAL Drum Kit . .15 PCM Synth Tone . .15 PCM Drum Kit . .23 GM2 Tone (PCM Synth Tone) . .24 GM2 Drum Kit (PCM Drum Kit) . .26 Drum Kit Key Assign List . .27 Waveforms . .40 Super NATURAL Synth PCM Waveform . .40 PCM Synth Waveform . .42 Copyright © 2014 ROLAND CORPORATION All rights reserved . No part of this publication may be reproduced in any form without the written permission of ROLAND CORPORATION . © 2014 ローランド株式会社 本書の一部、もしくは全部を無断で複写・転載することを禁じます。 2 Studio Sets (Preset) No Studio Set Name MSB LSB PC 56 Dear My Friends 85 64 56 No Studio Set Name MSB LSB PC 57 Nice Brass Sect 85 64 57 1 FA Preview 85 64 1 58 SynStr /SoloLead 85 64 58 2 Jazz Duo 85 64 2 59 DistBs /TranceChd 85 64 59 3 C .Bass/73Tine 85 64 3 60 SN FingBs/Ac .Gtr 85 64 60 4 F .Bass/P .Reed 85 64 4 61 The Begin of A 85 64 61 5 Piano + Strings 85 64 5 62 Emotionally Pad 85 64 62 6 Dynamic Str 85 64 6 63 Seq:Templete 85 64 63 7 Phase Time 85 64 7 64 GM2 Templete 85 64 64 8 Slow Spinner 85 64 8 9 Golden Layer+Pno 85 64 9 10 Try Oct Piano 85 64 10 (User) 11 BIG Stack Lead 85 64 11 12 In Trance 85 64 12 No Studio Set Name MSB LSB PC 13 TB Clone 85 64 13 1–128 INIT STUDIO 85 0 1–128 129– 14 Club Stack 85 64 14 INIT STUDIO 85 1 1–128 256 15 Master Control 85 64 15 257– INIT STUDIO 85 2 1–128 16 XYZ Files 85 64 16 384 17 Fairies 85 64 17 385– INIT STUDIO 85 3 1–128 18 Pacer 85 64 18 512 19 Voyager 85 64 19 * When shipped from the factory, all USER locations were set to INIT STUDIO . -
Journal of Primary Education Music Ensemble Learning in Extra
Journal of Primary Education 8 (1) (2019) : 24 – 29 https://journal.unnes.ac.id/sju/index.php/jpe/article/view/24953 Music Ensemble Learning in Extra-Curricular Activities by Using Counting Methods Hendy Mahardhika1 , Hartono2 & Udi Utomo3 1 Public Elementary School 4 Godong, Grobogan, Jawa Tengah, Indonesia 2 Universitas Negeri Semarang, Indonesia Article Info Abstract ________________ ___________________________________________________________________ History Articles The objectives of the study is to explain the functions of counting methods used Received: in music ensemble lessons as extracurricular activities in an elementary school. July 2018 Accepted: This study applied a qualitative approach. This study took place in SDN 4 August 2018 (Public Elementary School 4) Godong, Grobogan, Central Java. The data of Published: study was collected using observations, interviews, and documentation April 2019 techniques. The data of the study was validated using triangulation points of ________________ resource and technique. The data was analyzed using data collection, reduction, Keywords: counting method, presentation and conclusion techniques. The result of the study shows that extracurricular, counting method is a method that a teacher can use to make ensemble music learning, easier for pupils to learn. In this method, the teacher uses counting symbols to music ensemble make it easier for pupils to learn the materials. The steps used are determining ____________________ songs, which will be played to know the bars of the song, to write the counting DOI and the symbols, to explain the meaning of each symbol, and to play the https://doi.org/10.15294 instruments while counting individually or in a band. The evaluation of /jpe.v8i1.24953 ensemble music learning was taken in a simple performance of the pupils. -
Music Technology As a Tool and Guideline for Composition
Esca Jensen Music technology as a tool and guideline for composition Master’s thesis in Supervisor: Carl Haakon Waadeland Trondheim, January Master’s thesis Master’s NTNU Department of Music Faculty of Humanities Faculty Norwegian University of Science and Technology of Science University Norwegian Esca Jensen Music technology as a tool and guideline for composition Master’s thesis in Music Technology Supervisor: Carl Haakon Waadeland Trondheim, November 2018 Norwegian University of Science and Technology Faculty of Humanities Department of Music Table of content Music technology as a tool and guideline for composition 2 Applications of music technology in composition 3 Programming 3 Python 4 Generating a randomised note series and a midi file 5 Generating chords, melody, and a rhythm 6 Classical composition 9 Sibelius 9 Post composition 10 Composition after recording 11 Placing guidelines and working with the result 11 Vertical composition 12 Singer songwriter 12 Writing a song with only a piano 13 Co-creating a song in the studio 14 Studio and software instruments 14 Pro Tools 15 Logic Pro and software instruments 16 The compositional works 17 ‘Wind Chimes’ 17 ‘Droplets’ 21 ‘After Rain’ 28 ‘Out Of Time’ 33 ‘Water’ 37 ‘Layers’ 41 ‘Traffic Lights’ 45 ‘She Sang’ 47 Discussion 51 Synthetic versus organic origin 52 Pre- and post composition 54 Predetermined algorithms or randomness 55 Working digitally or traditionally 56 Conclusion 57 Bibliography 59 List of attachments 60 Music technology as a tool and guideline for composition Esca Jensen Page 1 Music technology as a tool and guideline for composition Esca Jensen Music technology as a tool and guideline for composition In this project I have gone through eight different compositional processes where music technology was an essential part. -
An Evening of Motown
TECHNICAL REQUIREMENTS: An Evening Of Motown GENERAL: In our experience we have for the most part found the house techs/sound companies as provided by host orchestras to be highly competent professionals who know and understand the needs of their orchestra and their performance venue. As such we are comfortable in trusting their recommendation and expertise. Conceptually all Jeans ‘n Classics productions are designed to feature the sound of the orchestra and as such the band and the orchestra should be equally sharing the musical picture as opposed to the orchestra being mixed into the back ground. The following are simply guidelines. MICS - BAND & SINGERS: Lead Vocalist (s) - 2 lead vocal mics required (cordless) - 1 lead vocal mic required (cordless)- Backup Vocalists (s) - 3 backup vocal mics required (cordless) Band - vocal mic required at keyboard MICS - ORCHESTRA: Strings - Contact mics on all strings is ideal - If impossible separate mics per player or minimally 1 mic per desk Winds - 1 mic per wind Brass - 1 mic per brass instrument Percussion - Individual mics on the congas/bongos area - Ambient mics on the "toys" for wind chime, tambourine etc, where the player can approach the mic - Individual mics on the vibes/marimbas area - Timpani and bass drums may or may not need ambient mics depending on the venue BAND INSTRUMENTS: Electric Bass - Bass player will need DI line, or in some cases may bring his own ears / mixer and therefore will need a line to the mixer - Bass guitar to be provided: - 4- String Fender Precision (American made preferred) with strap Guitars - guitarist will bring processing equipment for electric guitar - 1 DI line will be required - 2 guitar stands to be provided Keybaord / Piano - A grand piano, or if not available a Yamaha Motif 7 p.1 Drums Standard Yamaha 5 piece: (Choose from any of the following, in order of preference): • Recording Custom • Maple Custom • Oak Custom • Absolute Series (Birch, Maple, or Oak) Or an equivalent DW 5 piece (i.e.; Collector’s Series Maple) Specifications: A. -
Boston Symphony Orchestra Concert Programs, Season 27,1907-1908, Trip
NEW NATIONAL THEATRE, WASHINGTON Twenty-seventh Season, J907-J908 DR. KARL MUCK, Conductor Programme at % FOURTH MATINEE WITH HISTORICAL AND DESCRIP- TIVE NOTES BY PHILIP HALE TUESDAY AFTERNOON, FEBRUARY 18 AT 430 PRECISELY PUBLISHED BY C. A. ELLIS, MANAGER : ^^ Piano. Used and indorsed by Reisenauer, Neitzel, Burmeister, Gabrilowitsch, Nordica, Campanari, Bispham, and many other noted artists, will be used by TERESA CARRENO during her tour of the United States this season. The Everett piano has been played recently under the baton of the following famous conductors Theodore Thomas Franz Kneisel Dr. Karl Muck Fritz Scheel Walter Damrosch Frank Damrosch Frederick Stock F. Van Der Stucken Wassily Safonoff Emil Oberhoffer Wilhelm Gericke Emil Paur Felix Weingartner REPRESENTED BY THE JOHN CHURCH COMPANY, New York, Cincinnati, Chicago Boston Symphony Orchestra PERSONNEL TWENTY-SEVENTH SEASON, 1907-1908 Dr. KARL MUCK, Conductor First Violins. Wendling, Carl, Roth, O. Hoffmann, J. Krafft, W. Concert-master. Kuntz, D. Fiedler, E. Theodorowicz, J. Czerwonky, R. Mahn, F. Eichheim, H. Bak, A. Mullaly, J. Strabe, G. Rissland, K. Ribarsch, A. Traupe, W. i second Violins. Barleben, K. Akeroyd, J. Fiedler, B. Berger, H. Fiumara, P. Currier, F. Rennert, B. Eichler, J. Tischer-Zeitz, H Kuntz, A. Swornsbourne, W. Goldstein, S. Kurth, R. Goldstein, H. Violas. Fenr, E. Heindl, H. Zahn, F. Kolster, A. Krauss, H. Scheurer, K. Hoyer, H. Kluge, M. Sauer, G. Gietzen, A. Violoncellos. Warnke, H. Nagel, R. Barth, C. Loeffler, E. Heberlein, H. Keller, J. Kautzenbach, A. Nast, L. Hadley, A. Smalley, R. Basses. Keller, K. Agnesy, K. Seydel, T. Elkind, S. Gerhardt, G. Kunze, M. -
Boston Symphony Orchestra Concert Programs, Season 26,1906-1907, Trip
INFANTRY HALL . PROVIDENCE Twenty-sixth Season, J906-J907 DR. KARL MUCK, Conductor fljrmjramm? nf % Third and Last Concert WITH HISTORICAL AND DESCRIP- TIVE NOTES BY PHILIP HALE THURSDAY EVENING, MARCH 7 AT 8.15 PRECISELY PUBLISHED BY C. A. ELLIS, MANAGER 1 \ OSSIP WITSGH the Russian Pianist will play in America this season with the Principal Orchestras, the Kneisel Quartet, the Boston Symphony Quartet, Leading Musical Organizations throughout the country, and in Recital CABRILOWITSCH will play only the PIANO Conrad Building, Westminster Street For particulars, terms, and dates of Gabrilowitsch, address HENRY L. MASON 492 Boylston Street, Boston 1 Boston Symphony Orchestra PERSONNEL TWENTY-SIXTH SEASON, 1906-1907 Dr. KARL MUCK, Conductor Willy Hess, Concertmeister, and the Members of the Orchestra in alphabetical order. Adamowski, J. Hampe, C. Moldauer, A. Adamowski, T. Heberlein, H. Mullaly, J. Akeroyd, J. Heindl, A. Muller, F. Heindl, H. Bak, A. Helleberg, J. Nagel, R. Bareither, G. Hess, M. Nast, L. Barleben, C. Hoffmann, J. Barth, C. Hoyer, H. Phair, J. Berger, H. Bower, H. Keller, J. Regestein, E. Brenton, H. Keller, K. Rettberg, A. Brooke, A. Kenfield, L. Rissland, K. Burkhardt, H. Kloepfel, L. Roth, O. Butler, H. Kluge, M. Kolster, A. Sadoni, P. Currier, F. Krafft, W. Sauer, G. Debuchy, A. Krauss, H. Sauerquell, J. Kuntz, A. Sautet, A. Dworak, J. Kuntz, D. Schuchmann, F. Eichheim, H. Kunze, M. Schuecker, H. Eichler, J. Kurth, R. Schumann, C. Elkind, S. Schurig, R. Lenom, C. Senia, T. Ferir, E. Loeffler, E. Seydel, T. Fiedler, B. Longy, G. Sokoloff, N. Fiedler, E. Lorbeer, H. Strube, G.