DOCSLIB.ORG

Listening Guide 8

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Listening Guide 8 FIREBIRD AN INSTRUMENTAL SPECTACULAR 19 + 20 MAR 2021 CONCERT HALL, QPAC PROGRAM | FIREBIRD I CONTENTS WELCOME 1 IF YOU'RE NEW TO THE ORCHESTRA 2 FOR YOUNGER EARS 4 LISTENING GUIDE 8 ARTIST BIOGRAPHIES 14 SUPPORTING YOUR ORCHESTRA 24 MUSICIANS AND MANAGEMENT 26 II PROGRAM | FIREBIRD WELCOME Welcome to today’s concert! I am delighted to have all of you joining us in the Concert Hall once again. This concert is an almighty musical experience featuring one of my favourite composers, Igor Stravinsky. Stravinsky writes in a way that fits well under the fingers and also in the ears. He creates incredibly vivid images and stories with his writing, and weaves an atmosphere that you can’t help but be drawn into. Stravinsky had a canny way of bringing out the woody texture of the bassoon sound, but he also used the instrument for those lamenting moments in which the yearning tenor sound prevails. If I was on a desert island and there was a desert island orchestra, I’d play only Stravinsky ballets and Mozart and Strauss operas. Needless to say, I’m very excited that we are peforming Stravinsky's Firebird alongside Mozart's Piano Concerto No.19. What a treat to be joined by eminent Australian pianist Simon Tedeschi who will bring this piece to life. I know it will be a concert to remember. From the whole Orchestra, we cannot thank you enough for returning to us this year so that we can all enjoy live music together - now and into the future. Nicole Tait Section Principal Bassoon IN THIS CONCERT Conductor Elena Schwarz Relive this concert on ABC Classic Soloists Simon Tedeschi on 25 April at 1pm (AEDT). PROGRAM FRI 19 + SAT 20 MAR WEBER Overture to Der Freischütz 10’ MOZART Piano Concerto No.19 in F, K.459 28’ STRAVINSKY Suite from The Firebird (1919 version) 23’ Queensland Symphony Orchestra acknowledges the traditional custodians of Australia. We acknowledge the cultural diversity of Elders, both past and recent, and the significant contributions that Aboriginal peoples and Torres Strait Islander peoples have made to Queensland and Australia. To ensure an enjoyable concert experience for everyone, please remember to turn off your mobile phones and all other electronic devices. Please muffle coughs and refrain from talking during the performance. 1 IF YOU'RE NEW TO THE ORCHESTRA PERCUSSION TIMPANI FRENCH HORN TRUMPET TROMBONE TUBA CLARINET BASSOON FLUTE OBOE PIANO DOUBLE BASS VIOLIN 2 CELLO VIOLA CONDUCTOR WHO SITS WHERE Orchestras sit in sections based on types of instruments. There are four main sections in the symphony orchestra (strings, woodwinds, brass, and percussion) and sometimes a keyboard section. STRINGS BRASS These instruments produce sound by bowing or Brass players create sound by vibrating their plucking stretched strings. lips. When this vibration is pushed through large First / Second Violin brass tubes, it can create significant noise. Viola French Horn Cello Trumpet Double Bass Trombone / Bass Trombone Harp Tuba WOODWIND PERCUSSION Wind instruments produce sound by being These instruments create sound by being blown into. struck or shaken. Some instruments just make Flute / Piccolo a sound; others play particular notes. Clarinet / E-flat Clarinet / Bass Clarinet Timpani, Bass drum, Snare drum, Cymbals, Oboe / Cor Anglais Glockenspiel, Xylophone, Vibraphone, Bassoon / Contrabassoon Tam-tam, Triangle, Sleigh Bells. KEYBOARD Keyboard instruments are played by pressing keys. Piano 2 PROGRAM | FIREBIRD WHO’S ON STAGE TODAY CONCERTMASTER VIOLA FLUTE TRUMPET Warwick Adeney Imants Larsens ~ Alison Mitchell ~ Richard Madden = Yoko Okayasu >> Hayley Radke >> Mark Bremner CO-CONCERTMASTER Charlotte Burbrook de Richard Fomison Natsuko Yoshimoto PICCOLO Vere Kate Lawson * TROMBONE Linda Garrett ASSOCIATE Jason Redman ~ Nicole Greentree CONCERTMASTER OBOE Ashley Carter >> Alan Smith Bernard Hoey Huw Jones ~ Kirsten Hulin-Bobart Sarah Meagher >> BASS TROMBONE VIOLIN 1 Jann Keir-Haantera Alexa Murray Matthew McGeachin ^ Rebecca Seymour * Graham Simpson Lynn Cole Nicholas Tomkin COR ANGLAIS TUBA Ann Holtzapffel Alexa Murray Thomas Allely * Joan Shih CELLO Brenda Sullivan Trish Dean = CLARINET TIMPANI Brian Catchlove = Tim Corkeron * Jason Tong Matthew Kinmont + Kate Travers Stephen Tooke Tim Byrne PERCUSSION Claire Tyrell Kathryn Close BASSOON David Montgomery ~ Brynley White Deborah Davis Nicole Tait ~ Josh DeMarchi >> Sonia Wilson Andre Duthoit David Mitchell >> Jacob Enoka Kaja Skorka Evan Lewis VIOLIN 2 Craig Allister Young HARP Gail Aitken ~ CONTRABASSOON Jill Atkinson * Wayne Brennan ~ DOUBLE BASS Claire Ramuscak * Katie Betts ^ Phoebe Russell ~ KEYBOARD Jane Burroughs Dušan Walkowicz >> FRENCH HORN Mitchell Leigh ^ Faina Dobrenko Anne Buchanan Malcolm Stewart ~ Simon Dobrenko Justin Bullock Ian O’Brien * Delia Kinmont Paul O’Brien Vivienne Collier- Natalie Low Ken Poggioli Vickers Tim Marchmont Lauren Manuel Nicholas Thin Helen Travers Harold Wilson ~ Section Principal = Acting Section Principal >> Associate Principal + Acting Associate Principal * Principal ^ Acting Principal PROGRAM | FIREBIRD 3 FOR YOUNGER EARS Carl Maria Von Weber Der Freischütz: Overture An Overture is head at the start of an opera. An opera is a dramatic story that is brought to life by singers and an orchestra through their voices, actions and the music. Today you won't hear the opera, just the music. This Overture was written by German composer Carl Maria von Weber. The story of the opera begins in a dark forest. Weber uses French horns to represent the hunters. When the timpani begin (can you see the huge drums at the back of the Orchestra?) the evil Zamiel appears and tempts the hunters with magic bullets in exchange for their souls. The music becomes louder. Suddenly, there’s a change in the music. Can you hear it? The main tune (called a melody) becomes softer and gentler. DID YOU KNOW? This represents the arrival of a new character, Agathe. The composer is using A melody in music is a this piece of music to introduce sounds that will be heard later in the opera, like group of notes of high the different sounds used to represent and low sounds which different characters. are played one after the other. When put together they make Listen again. Scan the a tune, just like words QR code to listen at home. make a sentence! 4 PROGRAM | FIREBIRD Wolfgang Amadeus Mozart Piano Concerto No.19 in F, K.459 A piano concerto is a piece of music that showcases the piano and is performed by someone called a 'soloist.' Think of it like the piano is the singer and the orchestra is the band. The soloist in this concert is Simon Tedeschi, a piano player. He will be performing music written by Mozart, an Austrian composer. Legend goes that Mozart wrote this piece of music for himself to play. Once he wrote it, he took it on tour and performed it in front of an emperor. LISTEN OUT FOR... This piece of music is meant to make you feel happy. If you listen carefully, you can hear that the music changes from big to small sounds and back again. At times, the piano is the main instrument playing while at other times you can hear the entire orchestra. Watch and listen as the music switches between piano and orchestra. DID YOU KNOW? Mozart began creating and performing music music from the age of five! He was often called the ‘child composer’ and was considered a musical genius. PROGRAM | FIREBIRD 5 FOR YOUNGER EARS Igor Stravinsky Suite from The Firebird Today you’re about to hear some music that tells a story. The music our musicians are performing is called The Firebird and it was written by Igor Stravinsky, a composer from Russia. The story goes like this... One day Prince Ivan is hunting in a magical forest. He strays into an enchanted part of the forest that is haunted by an evil magician whose name is Koschei. In Koschei’s forest, Prince Ivan sees a magical creature, the Firebird. The Firebird has magical feathers that flicker and glitter like flames. Captivated by her, Prince Ivan captures the Firebird but agrees to set her free when she offers him one of her magical feathers. The magical feather will help the prince if he should need it. Later, we discover the evil magician Koschei has captured thirteen princesses! Prince Ivan falls in love with one of the beautiful princesses and decides to rescue her. The prince confronts Koschei, but the evil magician sends his monsters after the prince. In peril, the prince calls on the Firebird for help. She rescues the prince by making the monsters dance until they fall into a deep sleep. While they sleep, the Firebird shows the prince an egg where the evil magician’s soul is kept. The prince destroys the egg, and with it Koschei’s soul, freeing the captured princesses. 6 PROGRAM | FIREBIRD LISTEN OUT FOR... In The Firebird, different characters are represented by different kinds of music. Human characters like Prince Ivan or the princesses are represented with simple melodies based on Russian folk music. Mythical characters in the story, like the evil Koschei or the enchanted Firebird, are represented with music that sounds a little offbeat. Can you hear the difference? The original Firebird music was a ballet, but in this concert we don’t have any dancers. Instead we are going to play all the best bits from the ballet. See if you can hear these moments: 1. The spooky rumble on the double basses (they are some of the biggest instruments in the orchestra and look like giant violins) as Prince Ivan enters the enchanted forest. 2. The fluttery music when he meets the Firebird. 3. The beautiful and romantic music as Ivan sees the dancing princesses. 4. The big BANG! when Koschei sends out his monsters. This music is pretty wild, as the Firebird makes Koschei and the monsters dance themselves into exhaustion.
Load more

Recommended publications
  • Seeing (For) Miles: Jazz, Race, and Objects of Performance
    W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 2014 Seeing (for) Miles: Jazz, Race, and Objects of Performance Benjamin Park anderson College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the African American Studies Commons, and the American Studies Commons Recommended Citation anderson, Benjamin Park, "Seeing (for) Miles: Jazz, Race, and Objects of Performance" (2014). Dissertations, Theses, and Masters Projects. Paper 1539623644. https://dx.doi.org/doi:10.21220/s2-t267-zy28 This Dissertation is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Dissertations, Theses, and Masters Projects by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. Seeing (for) Miles: Jazz, Race, and Objects of Performance Benjamin Park Anderson Richmond, Virginia Master of Arts, College of William and Mary, 2005 Bachelor of Arts, Virginia Commonwealth University, 2001 A Dissertation presented to the Graduate Faculty of the College of William and Mary in Candidacy for the Degree of Doctor of Philosophy American Studies Program College of William and Mary May 2014 APPROVAL PAGE This Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy Benjamin Park Anderson Approved by T7 Associate Professor ur Knight, American Studies Program The College
    [Show full text]
  • Mozart and Brahms I Contents Welcome 1
    Music to soothe your soul Mozartand Brahms 28 + 29 MAY 2021 CONCERT HALL, QPAC PROGRAM | MOZART AND BRAHMS I CONTENTS WELCOME 1 IF YOU'RE NEW TO THE ORCHESTRA 2 FOR YOUNGER EARS 4 DEFINTION OF TERMS 8 LISTENING GUIDE 10 ARTIST BIOGRAPHIES 14 SUPPORTING YOUR ORCHESTRA 24 MUSICIANS AND MANAGEMENT 26 II PROGRAM | MOZART AND BRAHMS WELCOME Today we are very privileged to welcome back to the QPAC stage one of the world's greatest oboists - Diana Doherty. The oboe is a notoriously tricky instrument with several parameters that make it hard to master, none more so than the temperamental double reed at the top. These are hand- made by the oboist from a weed similar to bamboo (Arundo Donax for those playing at home). There are but a handful of oboists in the world who are invited to perform as soloists outside of their country, and Diana is one of them. One of my first trips to see the Sydney Symphony Orchestra as a teenager was to witness Diana perform the Richard Strauss Oboe Concerto. I marvelled at her gloriously resonant oboe sound, especially as she was 37 weeks pregnant! Nearly a decade later I watched Diana premiere Ross Edwards' Oboe Concerto, dressed (as instructed by the composer) as a wild bird, whilst undertaking dance choreography. I can’t think of any other oboist in the world who can pull off these jaw-dropping feats. Today, Diana performs the most famous work from the oboe repertoire - Mozart's Oboe Concerto in C. Diana is one of those oboists who makes the instrument sound like a human voice, and I have no doubt that you will enjoy her breathtaking rendition of this charming yet virtuosic concerto.
    [Show full text]
  • Korngold Violin Concerto String Sextet
    KORNGOLD VIOLIN CONCERTO STRING SEXTET ANDREW HAVERON VIOLIN SINFONIA OF LONDON CHAMBER ENSEMBLE RTÉ CONCERT ORCHESTRA JOHN WILSON The Brendan G. Carroll Collection Erich Wolfgang Korngold, 1914, aged seventeen Erich Wolfgang Korngold (1897 – 1957) Violin Concerto, Op. 35 (1937, revised 1945)* 24:48 in D major • in D-Dur • en ré majeur Dedicated to Alma Mahler-Werfel 1 I Moderato nobile – Poco più mosso – Meno – Meno mosso, cantabile – Più – Più – Tempo I – Poco meno – Tempo I – [Cadenza] – Pesante / Ritenuto – Poco più mosso – Tempo I – Meno, cantabile – Più – Più – Tempo I – Meno – Più mosso 9:00 2 II Romanze. Andante – Meno – Poco meno – Mosso – Poco meno (misterioso) – Avanti! – Tranquillo – Molto cantabile – Poco meno – Tranquillo (poco meno) – Più mosso – Adagio 8:29 3 III Finale. Allegro assai vivace – [ ] – Tempo I – [ ] – Tempo I – Poco meno (maestoso) – Fließend – Più tranquillo – Più mosso. Allegro – Più mosso – Poco meno 7:13 String Sextet, Op. 10 (1914 – 16)† 31:31 in D major • in D-Dur • en ré majeur Herrn Präsidenten Dr. Carl Ritter von Wiener gewidmet 3 4 I Tempo I. Moderato (mäßige ) – Tempo II (ruhig fließende – Festes Zeitmaß – Tempo III. Allegro – Tempo II – Etwas rascher (Tempo III) – Tempo II – Allmählich fließender – Tempo III – Wieder Tempo II – Tempo III – Drängend – Tempo I – Tempo III – Subito Tempo I (Doppelt so langsam) – Allmählich fließender werdend – Festes Zeitmaß – Tempo I – Tempo II (fließend) – Festes Zeitmaß – Tempo III – Ruhigere (Tempo II) – Etwas rascher (Tempo III) – Sehr breit – Tempo II – Subito Tempo III 9:50 5 II Adagio. Langsam – Etwas bewegter – Steigernd – Steigernd – Wieder nachlassend – Drängend – Steigernd – Sehr langsam – Noch ruhiger – Langsam steigernd – Etwas bewegter – Langsam – Sehr breit 8:27 6 III Intermezzo.
    [Show full text]
  • A Selection of Contemporary Fanfares for Multiple Trumpets Demonstrating Evolutionary Processes in the Fanfare Form
    MODERN FORMS OF AN ANCIENT ART: A SELECTION OF CONTEMPORARY FANFARES FOR MULTIPLE TRUMPETS DEMONSTRATING EVOLUTIONARY PROCESSES IN THE FANFARE FORM Paul J. Florek, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2015 APPROVED: Keith Johnson, Major Professor Eugene Corporon, Committee Member John Holt, Committee Member and Chair of the Department of Instrumental Studies Benjamin Brand, Director of Graduate Studies in Music James C. Scott, Dean of the College of Music Costas Tsatsoulis, Interim Dean of the Toulouse Graduate School Florek, Paul J. Modern Forms of an Ancient Art: A Selection of Contemporary Fanfares for Multiple Trumpets Demonstrating Evolutionary Processes in the Fanfare Form. Doctor of Musical Arts (Performance), May 2015, 73 pp., 1 table, 26 figures, references, 96 titles. The pieces discussed throughout this dissertation provide evidence of the evolution of the fanfare and the ability of the fanfare, as a form, to accept modern compositional techniques. While Britten’s Fanfare for St. Edmundsbury maintains the harmonic series, it does so by choice rather than by the necessity in earlier music played by the baroque trumpet. Stravinsky’s Fanfare from Agon applies set theory, modal harmonies, and open chords to blend modern techniques with medieval sounds. Satie’s Sonnerie makes use of counterpoint and a rather unusual, new characteristic for fanfares, soft dynamics. Ginastera’s Fanfare for Four Trumpets in C utilizes atonality and jazz harmonies while Stravinsky’s Fanfare for a New Theatre strictly coheres to twelve-tone serialism. McTee’s Fanfare for Trumpets applies half-step dissonance and ostinato patterns while Tower’s Fanfare for the Uncommon Woman demonstrates a multi-section work with chromaticism and tritones.
    [Show full text]
  • Kidsbook © Is a Publication of the Negaunee Music Institute
    KIDS�OOK CHICAGO SYMPHONY ORCHESTRA CSO SCHOOL CONCERTS May 4, 2018, 10:15 and 12:00 CSO FAMILY MATINEE SERIES May 5, 2018, 11:00 and 12:45 TheThe FirebirdFirebird 312-294-3000 | CSO.ORG | 220 S. MICHIGAN AVE. | CHICAGO THE FIREBIRD PERFORMERS Members of the Chicago Symphony Orchestra Tania Miller conductor Joffrey Academy Trainees and Studio Company guest dancers WHAT WOULD IT �E LIKE TO LIVE PROGRAM INCLUDES SELECTIONS FROM IN A WORLD WITHOUT HARMONY? Glière Russian Sailors’ Dance This program explores the ways from The Red Poppy that dynamic orchestral music and Prokofiev exquisite ballet dancing convey Suite No. 2 from emotion and tell stories of conflict Romeo and Juliet, and harmony. Our concert features Op. 64B Stravinsky’s Suite from The Firebird Tchaikovsky which depicts the heroic efforts of Swan Lake, Op. 20 Prince Ivan and a magical glowing Stravinsky bird struggling to defeat evil and Suite from The Firebird (1919) restore peace to the world. 2 CSO School Concerts / CSO Family Matinee series / THE FIREBIRD CONFLICT &HARMONY Each piece on our program communicates a unique combination of conflict and harmony. The first piece on the concert is Russian Sailor’s Dance from the ballet The Red Poppy by Reinhold Glière [say, Glee-AIR]. What kind of emotion do you feel as the low strings and brass begin the piece? William Shakespeare’s What emotion do you feel as the story of Romeo and Juliet is music gets faster? Would you say filled with conflict, and composer this piece is mostly about harmony Sergei Prokofiev [say: pro-CO-fee- or conflict? Why? What story of ] brilliantly captures this emotion do you imagine the music is in his ballet based on this timeless telling you? tale.
    [Show full text]
  • Fne Music Magazne
    February 2013 MAGAZINE VLADIMIR ASHKENAZY The Mystery of Music CORRALLING THE MASSES Sydney Philharmonia Choirs THE MUSIC- MATH MYTH Simon Tedeschi MASTER OF MODERNISM - Elliott Carter BIRTH OF AN OPERA Un Ballo in Maschera FROM THE ROYAL OPERA LA BOHEME MARCH 1, 2, 3 & 6 www.palaceoperaandballet.com.au CONTENTS EDITOR’S DESK In our cover story there’s a classic master-meets- Vol 40 No 2 apprentice moment as Robert Clark endeavours 4 COVER STORY to find some insights into how the great Vladimir Vladimir Ashkenazy, Principal Conductor of Ashkenazy achieves what he does. Clark finds however, that the practice of making music in the the Sydney Symphony, talks with Robert Clark maestro’s realm is more spiritual than tangible. and ponders the mysteries of making music Just one month into the Wagner anniversary year 3 Simon Says and we appear to be pleasantly awash with all things 6 Brett Weymark Interview Wagnerian. In a one page special review, Randolph Magri-Overend lifts the lid on a commemorative 8 Un Ballo in Maschera – Solti Ring cycle 14 CD Box set limited edition and the Wagner Society in NSW unveils a Birth of an Opera packed calendar of events. 11 Presenter Profile – Tom Zelinka Over at the Sydney Symphony, Chief Conductor and Artistic Director designate David Robertson is set to mark the 200th anniversaries of Verdi and Wagner with two July 12 Young Virtuosi events - Verdi’s Requiem and a concert version of Wagner’s Flying Dutchman. 13 Meet Kathryn Selby These two concerts are among seven this year where the Sydney Symphony teams up with the Brett Weymark-led Sydney Philharmonia Choirs.
    [Show full text]
  • Mouthpiece Vol. 22 Issue 4
    DecemberThe Journal2020 of the Australian Mouthpiece Trumpet Guild Pty Ltd ABN Volume76 085 24022 Issue 446 4 Mouthpiece gets a new look in 2021 Page 17 Interview with “Mr. Clean” — James Wilt of the Los Angeles Philharmonic Page 15 ITG News Page 8 ...and more! Next issue Orchestra matters, (Aussie trumpets of the Aukland Phil); Cornet Coirner International corner, December 2020 1 Volume 22 Issue 4 December 2020 Mouthpiece Volume 22 Issue 4 CONTENTS Click the page number to go to the page Publishing information Page 2 Guild Notes, Editorial, Page 3 Australian Trumpet News Page 4 A Blast from the past Page 7 ITG News Page 8 Orchestra matters (held over to 2021) Page 10 New work review Page 12 Cornet Corner Page 13 International Corner Page 15 Mouthpiece gets a new cover! Page 19 Snippets Page 20 PUBLISHING INFORMATION ADVERTISING RATES Deadlines for 2020 publications: 1 issue 4 issues Issue 1 February 15 (March issue) Issue 2 May 15 (June issue) Full page $100 $340 Issue 3 August 15 (September issue) 1/2 page $55 $180 Issue 4 November 15 (December issue) PLEASE NOTE: The above dates are firm. We need copy 1/4 Page $30 $100 within these time frames for efficient production of 1/8 page) $15 $55 Mouthpiece. Provide copy of adverts and articles via email . JPEG versions Classifieds(4 lines max.) $5 $15 preferred. Enquiries to: Australian Trumpet Guild Pty Ltd P.O. Box 1073 Wahroonga Sponsorships are also available. Contact the ATG NSW 2076 Ph: (02) 9489-6940 for details of packages including advertising, email: [email protected] conference stands and other benefits.
    [Show full text]
  • The Life and Times of the Remarkable Alf Pollard
    1 FROM FARMBOY TO SUPERSTAR: THE LIFE AND TIMES OF THE REMARKABLE ALF POLLARD John S. Croucher B.A. (Hons) (Macq) MSc PhD (Minn) PhD (Macq) PhD (Hon) (DWU) FRSA FAustMS A dissertation submitted for the degree of Doctor of Philosophy University of Technology, Sydney Faculty of Arts and Social Sciences August 2014 2 CERTIFICATE OF ORIGINAL AUTHORSHIP I certify that the work in this thesis has not previously been submitted for a degree nor has it been submitted as part of requirements for a degree except as fully acknowledged within the text. I also certify that the thesis has been written by me. Any help that I have received in my research work and the preparation of the thesis itself has been acknowledged. In addition, I certify that all information sources and literature used are indicated in the thesis. Signature of Student: Date: 12 August 2014 3 INTRODUCTION Alf Pollard’s contribution to the business history of Australia is as yet unwritten—both as a biography of the man himself, but also his singular, albeit often quiet, achievements. He helped to shape the business world in which he operated and, in parallel, made outstanding contributions to Australian society. Cultural deprivation theory tells us that people who are working class have themselves to blame for the failure of their children in education1 and Alf was certainly from a low socio-economic, indeed extremely poor, family. He fitted such a child to the letter, although he later turned out to be an outstanding counter-example despite having no ‘built-in’ advantage as he not been socialised in a dominant wealthy culture.
    [Show full text]
  • Basic Music Course: Keyboard Course
    B A S I C M U S I C C O U R S E KEYBOARD course B A S I C M U S I C C O U R S E KEYBOARD COURSE Published by The Church of Jesus Christ of Latter-day Saints Salt Lake City, Utah © 1993 by Intellectual Reserve, Inc. All rights reserved Printed in the United States of America Updated 2004 English approval: 4/03 CONTENTS Introduction to the Basic Music Course .....1 “In Humility, Our Savior”........................28 Hymns to Learn ......................................56 The Keyboard Course..................................2 “Jesus, the Very Thought of Thee”.........29 “How Gentle God’s Commands”............56 Purposes...................................................2 “Jesus, Once of Humble Birth”..............30 “Jesus, the Very Thought of Thee”.........57 Components .............................................2 “Abide with Me!”....................................31 “Jesus, Once of Humble Birth”..............58 Advice to Students ......................................3 Finding and Practicing the White Keys ......32 “God Loved Us, So He Sent His Son”....60 A Note of Encouragement...........................4 Finding Middle C.....................................32 Accidentals ................................................62 Finding and Practicing C and F...............34 Sharps ....................................................63 SECTION 1 ..................................................5 Finding and Practicing A and B...............35 Flats........................................................63 Getting Ready to Play the Piano
    [Show full text]
  • PRODUCT MANUAL Personal Electronic Piano
    YAMAHA ® AUTHORIZED PRODUCT MANUAL YPP-50 Personal Electronic Piano IMPORTANT Check your power supply Make sure that your local AC mains voltage matches the voltage specified on the name plate on the bottom panel. In some areas a voltage selec- tor may be provided on the rear panel of the main keyboard unit. Make sure that the voltage selector is set for the voltage in your area. The lightning flash with arrowhead symbol, within an equilateral triangle, is intended to alert the user to the presence of uninsulated “danger- ous voltage” within the product’s enclosure that may be of sufficient magnitude to constitute a risk of electric shock to persons. CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK. DO NOT REMOVE COVER (OR BACK). The exclamation point within an equilateral tri- NO USER-SERVICEABLE PARTS INSIDE. angle is intended to alert the user to the presence REFER SERVICING TO QUALIFIED SERVICE PERSONNEL. of important operating and maintenance (servic- ing) instructions in the literature accompanying theproduct. See bottom of keyboard enclosure for graphic symbol markings IMPORTANT SAFETY AND INSTALLATION INSTRUCTIONS INFORMATION RELATING TO POSSIBLE PERSONAL INJURY, ELECTRIC SHOCK, AND FIRE HAZARD POSSIBILITIES HAS BEEN INCLUDED IN THIS LIST. —When using electronic products, basic pre- Some Yamaha electronic products can be made to operate with WARNING cautions should always be followed, including 8 . or without the side panels or other components that constitute the following: a stand. These products should be used only with the components supplied or a cart or stand that is recommended by the manufacturer. Read all Safety and Installation Instructions, Explanation of 1 .
    [Show full text]
  • STRAVINSKY the Firebird
    557500 bk Firebird US 14/01/2005 12:19pm Page 8 Philharmonia Orchestra STRAVINSKY The Philharmonia Orchestra, continuing under the renowned German maestro Christoph von Dohnanyi as Principal Conductor, has consolidated its central position in British musical life, not only in London, where it is Resident Orchestra at the Royal Festival Hall, but also through regional residencies in Bedford, Leicester and Basingstoke, The Firebird and more recently Bristol. In recent seasons the orchestra has not only won several major awards but also received (Complete original version) unanimous critical acclaim for its innovative programming policy and commitment to new music. Established in 1945 primarily for recordings, the Philharmonia Orchestra went on to attract some of this century’s greatest conductors, such as Furtwängler, Richard Strauss, Toscanini, Cantelli and von Karajan. Otto Klemperer was the Petrushka first of many outstanding Principal Conductors throughout the orchestra’s history, including Maazel, Muti, (Revised 1947 version) Sinopoli, Giulini, Davis, Ashkenazy and Salonen. As the world’s most recorded symphony orchestra with well over a thousand releases to its credit, the Philharmonia Orchestra also plays a prominent rôle as one of the United Kingdom’s most energetic musical ambassadors, touring extensively in addition to prestigious residencies in Paris, Philharmonia Orchestra Athens and New York. The Philharmonia Orchestra’s unparalleled international reputation continues to attract the cream of Europe’s talented young players to its ranks. This, combined with its brilliant roster of conductors and Robert Craft soloists, and the unique warmth of sound and vitality it brings to a vast range of repertoire, ensures performances of outstanding calibre greeted by the highest critical praise.
    [Show full text]
  • A Comparison of Rhythm, Articulation, and Harmony in Jean-Michel Defaye's À La Manière De Stravinsky Pour Trombone Et Piano
    A COMPARISON OF RHYTHM, ARTICULATION, AND HARMONY IN JEAN- MICHEL DEFAYE’S À LA MANIÈRE DE STRAVINSKY POUR TROMBONE ET PIANO TO COM MON COMPOSITIONAL STRATEGIES OF IGOR STRAVINSKY Dustin Kyle Mullins, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS August 2014 APPROVED: Tony Baker, Major Professor Eugene Corporon, Minor Professor John Holt, Committee Member and Chair of the Division of Instrumental Studies James Scott, Dean of the College of Music Mark Wardell, Dean of the Toulouse Graduate School Mullins, Dustin Kyle. A Comparison of Rhythm, Articulation, and Harmony in Jean-Michel Defaye’s À la Manière de Stravinsky pour Trombone et Piano to Common Compositional Strategies of Igor Stravinsky. Doctor of Musical Arts (Performance), August 2014, 45 pp., 2 tables, 27 examples, references, 28 titles. À la Manière de Stravinsky is one piece in a series of works composed by Jean- Michel Defaye that written emulating the compositional styles of significant composers of the past. This dissertation compares Defaye’s work to common compositional practices of Igor Stravinsky (1882 – 1971). There is currently limited study of Defaye’s set of À la Manière pieces and their imitative characteristics. The first section of this dissertation presents the significance of the project, current literature, and methods of examination. The next section provides critical information on Jean-Michel Defaye and Igor Stravinsky. The following three chapters contain a compositional comparison of À la Manière de Stravinsky to Stravinsky’s use of rhythm, articulation, and harmony. The final section draws a conclusion of the piece’s significance in the solo trombone repertoire.
    [Show full text]