DOCSLIB.ORG

A Computer-Based Implementation of Basso Continuo Rules for Figured Bass Realizations

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A Computer-Based Implementation of Basso Continuo Rules for Figured Bass Realizations A COMPUTER-BASED IMPLEMENTATION OF BASSO CONTINUO RULES FOR FIGURED BASS REALIZATIONS Adam Wead Ian Knopke Jacobs School of Music Music Informatics Indiana University Indiana University [email protected] [email protected] ABSTRACT would be extremely desirable (from the point of view of the performer) to explore other ways to compare the origi- This paper documents an expert system for visually dis- nal source in an automated or partially-automated fashion. playing differing rule sets for producing figured bass parts Of special interest is the places where the various treatises, from a given, unfigured continuo part. The system is based often from entirely different geographical regions, differ on a decision tree procedure that is built from rules that as to performance instructions. To date, this has not been have been interpreted and broken down into a set of at- attempted in any technologically-assisted manner. tributes, with output classifications resulting in harmoniza- tions. Besides the visual and explanatory appeal, it can The project documented here explores an alternate, computer- also be used to generate new harmonizations and has the based method for answering these questions. We envi- potential to serve as a basis for a historically-accurate ac- sions several applications for it. First, it provides a way companiment system. to visually compare multiple sets of historical rules for harmonizing bass lines, a task that is difficult to do from 1. INTRODUCTION the original texts alone. Also, the rule sets and derived decision tree can be used to automatically generate new, Creating harmonizations from partially-figured or unfig- historically-accurate figured bass parts for given bass pas- ured continuo parts is an art form in itself, and is a nec- sages, and has the potential to be used in a live situation essary part of early music performance, as well as a stan- as the basis for an accompaniment system. dard topic in musicological research. One way perform- ers learn these skills is through practical experience or di- rectly from a teacher. However, those concerned with true historical accuracy in performance often turn to the orig- inal treatises that were published during the seventeenth 2. RELATED WORK and eighteenth centuries. Most of these are available in facsimile and have been translated, allowing the interested Basso continuo and its related performance aspects have performer or scholar to directly study the historical exam- been studied for decades by musicologists and music his- ples. This is not, however, a task to be taken lightly. Each torians. Some studies focus on specific performance as- of these treatises must be studied individually, and it is up pects [5], while others look at a large cross-section of mu- to the performer to distill the different rules and concepts sic from the period [18]. Perhaps the most comprehensive from each treatise, to create a comprehensive understand- body of work is that by F. T. Arnold [1]. Of all these ing that he or she would employ in the realization of a studies, this is the only one that attempts to provide an particular continuo bass. over-arching view of basso continuo practice as a whole. Some scholars have attempted to simplify this process However, it should be kept in mind that Arnold presents a through their own interpretations. Current studies of basso composite picture that he has devised and does not always continuo practice either adopt a theoretical view, or a per- draw a clear distinction as to how individual treatises dif- formance practice view. Although the two are not mutu- fer on certain practices. ally exclusive, the intended audience for such studies is either scholars in the fields of music theory or musicol- Methods for automatically generating harmonizations ogy, or a group of performers and teachers. The scholarly have also been actively studied. Some are more general view tends to focus more on the role continuo played in studies [13, 17], but most are concerned with specific styles the historic development of western music and its related such as the music of J. S. Bach [9, 10, 6, 8] or jazz har- theories, while the practical view examines how one may monizations [15]. Some excellent work has been done on learn the methods of continuo realization and use them real-time accompaniment systems [3, 4, 2]. A good intro- in the performance of works which require an extempo- duction to the basic concepts is that provided by Robert rized harmonic realization of a basso continuo part. It Rowe [14]. 188 3. METHODOLOGY Perhaps most importantly, some treatises do not contain complete sets of rules, but were instead intended to pro- One of the goals of this project is to create a coherent, vide details for improving the playing of performers who, historically-accurate rule set for determining the proper at the time, would have already had a basic understanding figured bass for a given bass line. The rule set should of accompaniment rules. The missing details need to be adhere to the constraints of various treatises, and should filled in. be able to accommodate contradictions and differences in Two treatises were chosen to form the source for our the recommended harmonizations that are recommended. initial data: a French treatise by Denis Delair published The classic machine-learning approach to solving a prob- in 1724 [11], and an Italian treatise by Francesco Gas- lem of this sort is to train a classifier on a data set and parini published in 1708 [7]. In addition to the close prox- “learn” the rules directly from the data [12]. This would imity of their publication dates, there were other reasons require a large collection of bass lines with complete sets for choosing these two treatises. First, both contained of figured bass already written in. We have not been able fairly logical, straightforward rules expressed in a similar to locate such a data set. Unfortunately, most music col- way. Secondly, both treatises contained simple instruc- lections from this time period are only partially figured, tions intended for beginners that could be used to con- which would leave us with the difficult problem of fill- struct a foundation of principles on which more compli- ing in or “guessing” at how to complete all of the missing cated rules could be constructed later. Also, both treatises parts. Some collections are more complete, but do not ex- use the motion and direction of the bass line as one of the ist in computer form. While these could be entered in a main factors for applying figures to bass notes that have format such as Humdrum, creating a large enough data set no existing figures in them. is not trivial. We began with a single chapter from a treatise on ac- Another problem is one of authority. In this case, the companiment by Denis Delair that contained an introduc- treatises are the “experts” that beginning lute players learn tory chapter on the basic application of figures to a bass at least part of their craft from. Most machine learning line. After some experimentation, it was determined that classifiers are concerned with producing the correct clas- each rule could be adequately explained using a set of sification based on the learned data set. Some pattern clas- approximately sixteen “questions” that could be asked of sifiers, such as neural nets, present major difficulties in un- each bass note to determine the correct figure that should derstanding how a particular classification, or in this case be applied. Each question can be represented by a single harmonization was arrived at. In fact, we see this as a ma- attribute in the form of a table. Some of the attributes in jor difference between the fields of Music Information Re- our table are: trieval and Music Theory. With MIR systems, the empha- sis is primarily on getting the correct answers, while the- Any figure already present with the bass note • orists and performers are often more concerned with the The scale degree of the bass note methodology that is used to produce the result. Addition- • ally, we would like to be able to provide a compact rep- Any accidentals present resentation of the rules, including comparisons between • The function of the note, ie. part of a cadence, in a rules derived from different treatises, so a performer or • theorist can more easily understand them and their place suspension within the entire practice, and perhaps serve as a guide to The intervallic direction of the bass line before and understanding the entire set of rules. • after the note in question With these considerations, it seemed natural to instead consider an expert system derived primarily from the rules The direction and scale degrees of the notes before in the treatises themselves. However, this approach has its • and after the note in question own complications. While the treatises certainly contain rules, these are not quite in a form that is ready to be used Each treatise rule was then carefully interpreted and ex- directly by a computer. pressed in terms of the above attributes, along with the For instance, consider the following quotation: proper harmonic outcome. Most rules produced a single outcome, but in some cases a single treatise example re- And when the composition calls for a sixth, sulted in several different rules. either directly or through resolution, together We then used these rules as input to build a decision with the said major third, then the following tree. The tree algorithm used here is a fairly standard ID3 note may have a fifth, and sometimes the fifth model, with basic pruning of spurious results, similar to followed by a sixth.
Load more

Recommended publications
  • Music Standards
    5th Grade Singing alone and with others Standard 1 Students sing alone or in groups, on pitch and in rhythm, using good tone, diction, breath control, and posture while maintaining a steady tempo. They sing from memory a variety of song repertoire, including ostinatos, partner songs, rounds, and music of many cultures and styles. They sing accurately with appropriate dynamics, breath control, phrasing, and interpretation. Students in fifth grade sing in groups, blending vocal sounds, matching dynamics, and following the conductor. 5.1.1 Sing warm-ups that stress diction, posture, and an appropriate singing tone. 5.1.2 Sing a round with appropriate dynamics, phrasing and interpretations. Maintain an independent part and keep a steady beat. 5.1.3 Sing a memorized song in a foreign language. 5.1.4 Follow the conductor. Playing an instrument alone and with others Standard 2 Students perform accurately, independently, and expressively on an instrument, either alone or in an ensemble. They echo easy rhythmic, melodic, and chordal patterns. Students perform in groups, blending instrumental tones, matching dynamics, and responding to the conductor. They perform instrumental parts while other students sing or play different parts. 5.2.1 Play an ostinato part independently. 5.2.2 Play a melody or rhythm in the proper tempo, using appropriate dynamics. 5.2.3 Play an accompaniment to a class or group song. Example: On a keyboard, guitar, mallet instrument, or autoharp, play an ostinato pattern while the group sings. 5.2.4 Play a variety of music of various cultures and styles. 5.2.5 Maintain an independent part on an instrument in a group while following the conductor.
    [Show full text]
  • III CHAPTER III the BAROQUE PERIOD 1. Baroque Music (1600-1750) Baroque – Flamboyant, Elaborately Ornamented A. Characteristic
    III CHAPTER III THE BAROQUE PERIOD 1. Baroque Music (1600-1750) Baroque – flamboyant, elaborately ornamented a. Characteristics of Baroque Music 1. Unity of Mood – a piece expressed basically one basic mood e.g. rhythmic patterns, melodic patterns 2. Rhythm – rhythmic continuity provides a compelling drive, the beat is more emphasized than before. 3. Dynamics – volume tends to remain constant for a stretch of time. Terraced dynamics – a sudden shift of the dynamics level. (keyboard instruments not capable of cresc/decresc.) 4. Texture – predominantly polyphonic and less frequently homophonic. 5. Chords and the Basso Continuo (Figured Bass) – the progression of chords becomes prominent. Bass Continuo - the standard accompaniment consisting of a keyboard instrument (harpsichord, organ) and a low melodic instrument (violoncello, bassoon). 6. Words and Music – Word-Painting - the musical representation of specific poetic images; E.g. ascending notes for the word heaven. b. The Baroque Orchestra – Composed of chiefly the string section with various other instruments used as needed. Size of approximately 10 – 40 players. c. Baroque Forms – movement – a piece that sounds fairly complete and independent but is part of a larger work. -Binary and Ternary are both dominant. 2. The Concerto Grosso and the Ritornello Form - concerto grosso – a small group of soloists pitted against a larger ensemble (tutti), usually consists of 3 movements: (1) fast, (2) slow, (3) fast. - ritornello form - e.g. tutti, solo, tutti, solo, tutti solo, tutti etc. Brandenburg Concerto No. 2 in F major, BWV 1047 Title on autograph score: Concerto 2do à 1 Tromba, 1 Flauto, 1 Hautbois, 1 Violino concertati, è 2 Violini, 1 Viola è Violone in Ripieno col Violoncello è Basso per il Cembalo.
    [Show full text]
  • Guitar Best Practices Years 1, 2, 3 and 4 Nafme Council for Guitar
    Guitar Best Practices Years 1, 2, 3 and 4 Many schools today offer guitar classes and guitar ensembles as a form of music instruction. While guitar is a popular music choice for students to take, there are many teachers offering instruction where guitar is their secondary instrument. The NAfME Guitar Council collaborated and compiled lists of Guitar Best Practices for each year of study. They comprise a set of technical skills, music experiences, and music theory knowledge that guitar students should know through their scholastic career. As a Guitar Council, we have taken careful consideration to ensure that the lists are applicable to middle school and high school guitar class instruction, and may be covered through a wide variety of method books and music styles (classical, country, folk, jazz, pop). All items on the list can be performed on acoustic, classical, and/or electric guitars. NAfME Council for Guitar Education Best Practices Outline for a Year One Guitar Class YEAR ONE - At the completion of year one, students will be able to: 1. Perform using correct sitting posture and appropriate hand positions 2. Play a sixteen measure melody composed with eighth notes at a moderate tempo using alternate picking 3. Read standard music notation and play on all six strings in first position up to the fourth fret 4. Play melodies in the keys C major, a minor, G major, e minor, D major, b minor, F major and d minor 5. Play one octave scales including C major, G major, A major, D major and E major in first position 6.
    [Show full text]
  • Classical Music from the Late 19Th Century to the Early 20Th Century: the Creation of a Distinct American Musical Sound
    Portland State University PDXScholar Young Historians Conference Young Historians Conference 2019 May 1st, 12:30 PM - 1:45 PM Classical Music from the Late 19th Century to the Early 20th Century: The Creation of a Distinct American Musical Sound Ashley M. Christensen Lakeridge High School Follow this and additional works at: https://pdxscholar.library.pdx.edu/younghistorians Part of the Music Theory Commons Let us know how access to this document benefits ou.y Christensen, Ashley M., "Classical Music from the Late 19th Century to the Early 20th Century: The Creation of a Distinct American Musical Sound" (2019). Young Historians Conference. 13. https://pdxscholar.library.pdx.edu/younghistorians/2019/oralpres/13 This Event is brought to you for free and open access. It has been accepted for inclusion in Young Historians Conference by an authorized administrator of PDXScholar. Please contact us if we can make this document more accessible: [email protected]. CLASSICAL MUSIC FROM THE LATE 19th CENTURY TO THE EARLY 20th CENTURY: THE CREATION OF A DISTINCT AMERICAN MUSICAL SOUND Marked by the conflict of the Civil War, the late 19th century of American history marks an extremely turbulent time for the United States of America. As the young nation reached the second half of the century, idle threats of a Southern secession from the union bloomed into an all-encompassing conflict. However, through the turbulence of the war, American music persisted. Strengthened in battle, the ideas of a reconstructed American national identity started to form a distinctly different American culture and way of life. This is reflected in the nation’s shift in the music written after the war.
    [Show full text]
  • Considerations for Choosing and Combining Instruments
    CONSIDERATIONS FOR CHOOSING AND COMBINING INSTRUMENTS IN BASSO CONTINUO GROUP AND OBBLIGATO INSTRUMENTAL FORCES FOR PERFORMANCE OF SELECTED SACRED CANTATAS OF JOHANN SEBASTIAN BACH Item Type text; Electronic Dissertation Authors Park, Chungwon Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 28/09/2021 04:28:57 Link to Item http://hdl.handle.net/10150/194278 CONSIDERATIONS FOR CHOOSING AND COMBINING INSTRUMENTS IN BASSO CONTINUO GROUP AND OBBLIGATO INSTRUMENTAL FORCES FOR PERFORMANCE OF SELECTED SACRED CANTATAS OF JOHANN SEBASTIAN BACH by Chungwon Park ___________________________ Copyright © Chungwon Park 2010 A Document Submitted to the Faculty of the School of Music In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS In the Graduate College The UNIVERSITY OF ARIZONA 2010 2 UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Document Committee, we certify that we have read the document prepared by Chungwon Park entitled Considerations for Choosing and Combining Instruments in Basso Continuo Group and Obbligato Instrumental Forces for Performance of Selected Sacred Cantatas of Johann Sebastian Bach and recommended that it be accepted as fulfilling the document requirement for the Degree of Doctor of Musical Arts _______________________________________________________Date: 5/15/2010 Bruce Chamberlain _______________________________________________________Date: 5/15/2010 Elizabeth Schauer _______________________________________________________Date: 5/15/2010 Thomas Cockrell Final approval and acceptance of this document is contingent upon the candidate’s submission of the final copies of the document to the Graduate College.
    [Show full text]
  • Unwrap the Music Concerts with Commentary
    UNWRAP THE MUSIC CONCERTS WITH COMMENTARY UNWRAP VIVALDI’S FOUR SEASONS – SUMMER AND WINTER Eugenie Middleton and Peter Thomas UNWRAP THE MUSIC VIVALDI’S FOUR SEASONS SUMMER AND WINTER INTRODUCTION & INDEX This unit aims to provide teachers with an easily usable interactive resource which supports the APO Film “Unwrap the Music: Vivaldi’s Four Seasons – Summer and Winter”. There are a range of activities which will see students gain understanding of the music of Vivaldi, orchestral music and how music is composed. It provides activities suitable for primary, intermediate and secondary school-aged students. BACKGROUND INFORMATION CREATIVE TASKS 2. Vivaldi – The Composer 40. Art Tasks 3. The Baroque Era 45. Creating Music and Movement Inspired by the Sonnets 5. Sonnets – Music Inspired by Words 47. 'Cuckoo' from Summer Xylophone Arrangement 48. 'Largo' from Winter Xylophone Arrangement ACTIVITIES 10. Vivaldi Listening Guide ASSESSMENTS 21. Transcript of Film 50. Level One Musical Knowledge Recall Assessment 25. Baroque Concerto 57. Level Two Musical Knowledge Motif Task 28. Programme Music 59. Level Three Musical Knowledge Class Research Task 31. Basso Continuo 64. Level Three Musical Knowledge Class Research Task – 32. Improvisation Examples of Student Answers 33. Contrasts 69. Level Three Musical Knowledge Analysis Task 34. Circle of Fifths 71. Level Three Context Questions 35. Ritornello Form 36. Relationship of Rhythm 37. Wordfind 38. Terminology Task 1 ANTONIO VIVALDI The Composer Antonio Vivaldi was born and lived in Italy a musical education and the most talented stayed from 1678 – 1741. and became members of the institution’s renowned He was a Baroque composer and violinist.
    [Show full text]
  • RECITATIVE STYLE and the FIGURFD BASS THESIS Presented
    /O i0 A COURSE IN KEYBOAIO AIMOBy BASED ON THE RECITATIVE STYLE AND THE FIGURFD BASS THESIS Presented to the Graduate Council of the North Texas State Teachers College in Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC By George S. Thompson, B. M. 158610 Garland, Texas August, 1948 158610 TABLE OF CONTENTS LIST OF ILLUSTFAJTIO.S., Page . 9 , 9 0 v Chapter I. INTRODUCTION . * , " 4 4 . , Statement of the Problem Need for the Study Sources and Validity of Data Method of Presentation II. YIGUREDBASS . * 0 g , * ." 4 III. RECITATIVE . IV. TRIADS . * 0 0* * , I * 13 Root Position of Triads First Inversion of Triads Second Inversion of Triads Modulation V. NON-IARMONIC TONES * * , 9 a 9 , 0 , . The Passing Tone The Suspension The Neighboring Tone The Anticipation The Escape Tone The Appoggiatura The Pedal Point VI. SEVENTH CHORDS . * . * * * . , 43 The Dominant Seventh Chord The Supertonic Seventh Chord The Leading Tone Seventh Chord in Minor The Subdominant Seventh Chord The Tonic Seventh Chord in Major VII* ALTERED CHORDS. .. Altered Chords in Minor Altered Chords in Major 6ii Chapter Page VIII. THE CHORD OF TIE AUGEEIN SIXTH . 58 IX. MODULATIONTO FOREIGNaYS . 61 x. REVIEW . 64 BIBLIOGRAPHY . 67 iv LIST OF ILLUSTRATIONS Figure Page 1. Example of the Figurations for the Triad in Root Position . 14 2. Example of the Figurations for the First Inversion of Triads . 21 3. Example of the Figurations for the Second Inversion of Triads . 24 4. Example of the Figurations for the Passing Tone . 29 5. Example of the Figurations for the Suspension . , . 32 6.
    [Show full text]
  • MUAG 1011 KEYBOARD SKILLS 1 (SKILLS 1-12 & Three EXAMS)
    MUAG 1011 KEYBOARD SKILLS 1 (SKILLS 1-12 & Three EXAMS) REQUIRED TEXTS: 1. KEYBOARD STRATEGIES MASTER TEXT I: Stecher, et al, (G. Schirmer, 1980). (All pages are KS unless otherwise marked.) 2. ESSENTIAL ELEMENTS 2000 COMPREHENSIVE BAND METHOD, Piano Accompaniment Book 1 (EEB), Lautzenheiser, et al, (Hal Leonard 2000). 3. SCALES, PATTERNS and IMPROVS, Book 1, Kreader, et al, (Hal Leonard 2009). (SPI) 4. SYLLABUS: www.music.unt.edu/piano (click on “Proficiency”). 5. KEYBOARD SKILLS teachers will only use student’s name @unt.edu email. BRING ALL MATERIALS TO EVERY CLASS. WEEK 1 Chapter 1 & begin 2 - MAJOR FIVE FINGER PATTERNS & CHORDS Syllabus: www.music.unt.edu/piano (click on “Proficiency”) THEORY & TECHNIQUE 1. Order of Fifths: a. Order of Fifths: Say & play order of sharp (#) keys (C-C#), then flat (b) keys (Cb-C). b. Play the order of # keys in single notes (LH 5-1; RH 1-5, hand-over-hand), in half notes, then in quarter notes, MM = 100 2. Major Five Finger Patterns & Chords a. SPI, 12, 4, 8 (F, C, G) with CD. b. Discuss 2nds, 3rds & 5ths. Play all patterns on these pages. READING & REPERTOIRE 3. Reading a. 37, #2. b. 31-32, verbalize then play #2 & 4 using letters, finger #’s & direction/distance. CHORD PATTERNS & HARMONIZATION 4. Patterns: SPI, 13,5,9. Play as written. FURTHER APPLICATION 5. Transpose: 31-32, #2 & #4 by intervals to F, C, & G positions. QUIZ: SKILL 1: Transpose SPI 5, 9 & 13 to C, G, F. WEEK 2 Complete Chapter 2 - MAJOR FIVE FINGER PATTERNS & CHORDS THEORY & TECHNIQUE 1.
    [Show full text]
  • Melody and Accompaniment Articles for EPMOW (Encyclopedia of Popular Music of the World) by Philip Tagg
    P Tagg: 1 Melody and Accompaniment articles for EPMOW (Encyclopedia of Popular Music of the World) by Philip Tagg Contents melody 2 Defining parameters 2 General characteristics of popular melody 2 Metaphorical nomenclature 3 Typologies of melody 4 Structural typologies 4 Pitch contour 4 Tonal vocabulary 7 Dynamics and mode of articulation 8 Rhythmic profile 8 Body and melodic rhythm 9 Language and melodic rhythm 9 Culturally specific melodic formulae 10 Patterns of recurrence 12 Connotative typologies 15 accompaniment 17 Bibliography 20 Musical references 22 P Tagg: melody Defining parameters 2 melody From the two Ancient Greek words mélos (m°low = a song, or the music to which a song is set) and ode (”dÆ = ode, song, poem), the English word melody seems to have three main meanings: [1] a monodic tonal sequence, accompanied or unaccom- panied, perceived as a musical statement with distinct rhythmic profile and pitch contour; [2] the monodic musical foreground to which ACCOMPANIMENT (see p.17 ff.) and HARMONY (see Tagg’s Harmony Handout) are, at least within most popular music traditions of Europe and the Americas, understood as providing the back- ground; [3] all such monodic tonal sequences and/or aspects of musical foreground within one complete song (e.g. ‘Auld Lang Syne is a popular Scottish melody’). It should be noted in the latter case that mélodie, Melodie, melodia, melodi (French, German, Latin and Scandinavian languages respectively) can in popular parlance sometimes denote the entirety of any TUNE or SONG (including lyrics and accompa- niment) in which melody, defined according to [1] and [2] above, is a prominent fea- ture.
    [Show full text]
  • A Cappella – Choral Music Without Instrumental Accompaniment
    MUSIC VOCABULARY TERMS A Cappella – Choral music without instrumental accompaniment Accelerando – (accel.) Gradually increasing in speed Adagio – Slowly, leisurely Allargando – Gradually slower, louder and broader Allegretto – Light and cheerful, faster than moderato, slower than allegro Allegro – Lively, brisk, rapid Andante – In a moderately slow time, flowing easily and gracefully Animato – With life and animation Antagonist – person who opposes, fights or competes with another opponent or rival Aperture – hole or opening in an instrument Arco – to be played with the bow Aria – a solo song (in an opera) expressing a character’s feelings Baroque Period – This time period lasted from the 1600 – 1750. The main elements of this time period were complexity and ornamentation. The music seemed to curl and twist with elaborate detail. Two main musical forms appeared in this time period orchestral music and opera. Some of the greatest composers of this time period were Handel, Bach, Vivaldi, Monteverdi, and Purcell. Bell – cup shaped flared opening at the end of a brass or woodwind instrument Blues – (1930s) style of music originating in the Mississippi Delta region, features guitar, soulful sound, use of blue notes and introduction of the singer Boogie Woogie – (1920s) used primarily piano, repeating pattern in bass line (left hand) with syncopated choral melody in treble (right hand), dance oriented Book Musical – A type of musical in which the characters act out the plot which leads to a clear outcome. Book musicals can be either Musical
    [Show full text]
  • Guitar Audition Requirements
    Prospective students may do a classical guitar OR jazz guitar audition. Please see audition requirements below. Prospective students wishing to audition in a different style of music (such as rock, blues, country, bluegrass, or pop) are welcome, and may contact Dr. Fowler directly ([email protected]) to discuss alternative requirements. Classical guitar audition: Undergraduate classical guitar audition: 1) Perform two contrasting compositions such as: -A composition from the Renaissance or Baroque period -A composition from the Classical or Romantic period -A composition from the 20th or 21st Century 2) Scales and fret-board harmony !Play the following scales-two octaves: C major, C harmonic minor,! C melodic minor, and C chromatic. ! Play two voicings of the following chords in C and G: major, minor, major 7th, dominant 7th, minor 7th, half diminished 7th, and diminished 7th. Graduate classical guitar audition: 1) Perform three contrasting compositions 2) Scales and fret-board harmony ! Play the following scales-two octaves in any key: major, harmonic minor,! melodic minor, whole-tone, and chromatic.! Four voicings for each of the following chords in any key: major, minor, major 7th, dominant 7th, minor 7th, half diminished 7th, and diminished 7th. Jazz guitar audition: Undergraduate jazz guitar audition 1) Perform two contrasting jazz compositions such as: -Blues !-Up-tempo standard -Ballad At least one composition must be with performed with a backing track and must demonstrate the ability to play the melody (head), the accompaniment (comping), and improvise (solo). 2) Scales and fret-board harmony ! Play the following scales-two octaves: C major, C harmonic minor, C melodic minor, and C chromatic.
    [Show full text]
  • HANDEL TRIO SONATAS for TWO VIOLINS and BASSO CONTINUO George Frideric Handel 1685–1759
    HANDEL TRIO SONATAS FOR TWO VIOLINS AND BASSO CONTINUO George Frideric Handel 1685–1759 Sinfonia in B flat HWV 339 Trio Sonata in E HWV 394 1 I. [Allegro] 4.06 15 I. Adagio 3.14 2 II. Adagio 4.42 16 II. Allegro 2.29 3 III. [Allegro] 2.19 17 III. Adagio 2.14 18 IV. Allegro 3.01 Trio Sonata in F HWV 392 4 I. Andante 3.18 Trio Sonata in C minor HWV 386a 5 II. Allegro 2.36 19 I. Andante 3.46 6 III. Adagio 3.35 20 II. Allegro 2.40 7 IV. Allegro 2.40 21 III. Andante 2.41 22 IV. Allegro 2.12 Trio Sonata in B flat HWV 50a ‘Esther’ 8 I. Andante 2.09 Trio Sonata in C HWV 403 ‘Saul’ 9 II. Larghetto 2.53 23 I. Allegro 4.13 10 III. Allegro 2.27 24 II. Andante larghetto 1.08 25 III. Allegro 1.53 Trio Sonata in G minor HWV 393 26 IV. Allegro 2.08 11 I. Andante 3.06 12 II. Allegro 2.25 76.10 13 III. Largo 2.20 14 IV. Allegro 2.22 The Brook Street Band Rachel Harris · Farran Scott baroque violins Tatty Theo baroque cello · Carolyn Gibley harpsichord 2 Handel – a life in music The trio sonata was a genre that Handel explored at different points in his life, in different locations. There are two named sets of trio sonatas: Opus 2 and Opus 5. Opus 2 was clearly influenced by Handel’s time in Italy, following the ‘da chiesa’ model.
    [Show full text]