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Yesterday for Saxophone Sextet Sheet Music
Yesterday For Saxophone Sextet Sheet Music Download yesterday for saxophone sextet sheet music pdf now available in our library. We give you 6 pages partial preview of yesterday for saxophone sextet sheet music that you can try for free. This music notes has been read 2740 times and last read at 2021-09-27 05:41:01. In order to continue read the entire sheet music of yesterday for saxophone sextet you need to signup, download music sheet notes in pdf format also available for offline reading. Instrument: Alto Saxophone, Baritone Saxophone, Soprano Saxophone, Tenor Saxophone Ensemble: Mixed Level: Intermediate [ READ SHEET MUSIC ] Other Sheet Music Yesterday For String Sextet Yesterday For String Sextet sheet music has been read 3103 times. Yesterday for string sextet arrangement is for Intermediate level. The music notes has 6 preview and last read at 2021-09-28 08:51:49. [ Read More ] Jrme Savari Sextet For Ssaatb Saxophone Sextet Jrme Savari Sextet For Ssaatb Saxophone Sextet sheet music has been read 3917 times. Jrme savari sextet for ssaatb saxophone sextet arrangement is for Intermediate level. The music notes has 6 preview and last read at 2021-09-27 13:06:51. [ Read More ] Yesterday Beatles Classic Saxophone Quartet Yesterday Beatles Classic Saxophone Quartet sheet music has been read 3763 times. Yesterday beatles classic saxophone quartet arrangement is for Intermediate level. The music notes has 6 preview and last read at 2021-09-27 22:41:31. [ Read More ] Yesterday For Saxophone Quartet Yesterday For Saxophone Quartet sheet music has been read 2597 times. Yesterday for saxophone quartet arrangement is for Beginning level. -
Wind, String, & Mixed Chamber Groups
WIND, STRING, & MIXED CHAMBER GROUPS - SPRING 2019 (v 2.1) - including piano, harp, and percussion - PLEASE read the “Rules of the Road” for chamber music on the “performance” section of INSIDE MUSIC on the School of Music website: https://www.cmu.edu/cfa/music/current-students/ensembles/chamber-music.html Each group should select/elect/draft a “contact person” and submit that person’s name to the chamber music Graduate Assistant, Yalyen Savignon: [email protected] Please note that this is the second draft of the roster. All registered students have been placed, and all requests have been fulfilled. We hope that few if any further changes will need to be made. Remember, other students’ education depends on your being a reliable member of your group! IF YOU SPOT MISTAKES ON THIS LIST, PLEASE CONTACT PROF. WHIPPLE. RJW and CW, February 6, 2019 57-228 OR 57-928 SEXTETS sec A - WIND & PIANO SEXTET Alisa Smith, flute Elizabeth Mountz, oboe Elizabeth Carney, clarinet Ji Won Song, horn Andrew Hahn, bassoon Winfred Wang, piano coaches: R. James Whipple QUINTETS sec B - GRADUATE WIND QUINTET Theresa Abalos, flute Evan Tegley, oboe Alex Athitakas, clarinet Diana McLaughlin, horn Nicholas Evans, bassoon coach: Thomas Thompson sec C - “VENTUS FERRO” TBA, flute Alicia Smith, oboe Zack Neville, clarinet Ziming Zhu, horn Dreya Cherry, bassoon coach: James Gorton sec D - PROKOFIEV: Quintet in g minor Christian Bernard, oboe Bryce Kyle, clarinet TBA, violin Angela-Maureen Zollman, viola Mark Stroud, bass coach: James Gorton STRING QUARTETS 57-226 OR 57-926 1. Jasper Rogal, violin Noah Steinbaum, violin Angela Rubin,viola Kyle Johnson, cello coach: Cyrus Forough 2. -
New and Lesser Known Works for Saxophone Quartet: a Recording
New and Lesser Known Works for Saxophone Quartet: A Recording, Performance Guide, and Composer Interviews by Woodrow Chenoweth A Research Paper Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts Approved April 2019 by the Graduate Supervisory Committee: Christopher Creviston, Chair Joshua Gardner Michael Kocour Ted Solis ARIZONA STATE UNIVERSITY May 2019 ABSTRACT This project includes composer biographies, program notes, performance guides, composer questionnaires, and recordings of five new and lesser known works for saxophone quartet. Three of the compositions are new pieces commissioned by Woody Chenoweth for the Midwest-based saxophone quartet, The Shredtet. The other two pieces include a newer work for saxophone quartet never recorded in its final version, as well as an unpublished arrangement of a progressive rock masterpiece. The members of The Shredtet include saxophonists Woody Chenoweth, Jonathan Brink, Samuel Lana, and Austin Atkinson. The principal component of this project is a recording of each work, featuring the author and The Shredtet. The first piece, Sax Quartet No. 2 (2018), was commissioned for The Shredtet and written by Frank Nawrot (b. 1989). The second piece, also commissioned for The Shredtet, was written by Dan Puccio (b. 1980) and titled, Scherzos for Saxophone Quartet (2018). The third original work for The Shredtet, Rhythm and Tone Study No. 3 (2018), was composed by Josh Bennett (b. 1982). The fourth piece, Fragments of a Narrative , was written by Ben Stevenson (b. 1979) in 2014 and revised in 2016, and was selected as runner-up in the Donald Sinta Quartet’s 2016 National Composition Competition. -
FRIDAY the 13TH: the MICROS PLAY MONK (Cuneiform Rune 310)
Bio information: THE MICROSCOPIC SEPTET Title: FRIDAY THE 13TH: THE MICROS PLAY MONK (Cuneiform Rune 310) Cuneiform promotion dept: (301) 589-8894 / fax (301) 589-1819 email: joyce [-at-] cuneiformrecords.com (Press & world radio); radio [-at-] cuneiformrecords.com (North American radio) http://www.cuneiformrecords.com FILE UNDER: JAZZ / THELONIOUS MONK / THE MICROSCOPIC SEPTET “If the Micros have a spiritual beacon, it’s Thelonious Monk. Like the maverick bebop pianist, they persevere... Their expanding core audience thrives on the group’s impeccable arrangements, terse, angular solos, and devil-may-care attitude. But Monk and the Micros have something else in common as well. Johnston tells a story: “Someone once walked up to Monk and said, “You know, Monk, people are laughing at your music.’ Monk replied, ‘Let ‘em laugh. People need to laugh a little more.” – Richard Gehr, Newsday, New York 1989 “There is immense power and careful logic in the music of Thelonious Sphere Monk. But you might have such a good time listening to it that you might not even notice. …His tunes… warmed the heart with their odd angles and bright colors. …he knew exactly how to make you feel good… The groove was paramount: When you’re swinging, swing some more,” he’d say...” – Vijay Iyer, “Ode to a Sphere,” JazzTimes, 2010 “When I replace Letterman… The band I'm considering…is the Microscopic Septet, a New York saxophone-quartet-plus-rhythm whose riffs do what riffs are supposed to do: set your pulse racing and lodge in your skull for days on end. … their humor is difficult to resist. -
Sonata for Clarinet Choir Donald S
Eastern Illinois University The Keep Masters Theses Student Theses & Publications 1962 Sonata for Clarinet Choir Donald S. Lewellen Eastern Illinois University Recommended Citation Lewellen, Donald S., "Sonata for Clarinet Choir" (1962). Masters Theses. 4371. https://thekeep.eiu.edu/theses/4371 This Thesis is brought to you for free and open access by the Student Theses & Publications at The Keep. It has been accepted for inclusion in Masters Theses by an authorized administrator of The Keep. For more information, please contact [email protected]. -SONATA POR CLARINET CHOIR A PAPER PRESENTED TO THE FACULTY OF TILE DEPARTMENT OF MUSIC EASTERN ILLINOIS UNIVERSITY IN PARTIAL FULFILLMENT OF TIIB REQUIREMENTS FOR IBE DEGREE MASTER OF SCIENCE IN EDUCATION DONALDS. LEWELLEN '""'."'.···-,-·. JULY, 1962' TABLE OF CONTENTS :le Page • • • • • • • . • .. • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • i ile of Contents . .. ii iface ••.•....•...•........••....... •· ...•......•.•...• iii ::tion I ! Orchestra and Band ································· 1 lrinet Choir New Concept of Sound •••••••••••••••••• 2 3.rinet Choir Medium of Musical Expression . .. 2 arinet Choir Instrumentation . 3 ction II nata for Clarinet Choir - Analysis . .. 6 mmary • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • 8 bliography ••••.•••••••••••••••••••••••.•••••••••••••• 10 PREFACE The available literature for clarinet choir is quite limited, and much of this literature is an arrangement of orchestral music. -
Fabian Hügli Clarinetto
GIOVEDÌ ORE LIVE STREAMING 17.06.21 18:00 conservatorio.ch/eventi Fabian Hügli clarinetto Recital per il conseguimento del Master of Arts in Music Performance Conservatorio della Svizzera italiana Scuola universitaria di Musica Via Soldino 9 CH-6900 Lugano T +41 (0)91 960 23 62 [email protected] Fabian Hügli Fabian Hügli (*1997) received his first clarinet lessons at the age of 7. At the music conservatory in Zurich he was admitted to play in his first symphonic orchestra at the age of 13 and joined the local Zurich Youth Symphony Orchestra just a few years later. From 2016-2019 he completed his BA in the Zurich University of the Arts with Matthias Müller and is currently completing his Master of Arts in Music Performance in Lugano where he studies in the well-known class of François Benda and Jordi Pons. His participation as principle clarinetist in various youth orchestras and university orchestras has led him to concert tours all around the world. Famous clarinetists like Sharon Kam, Jörg Widmann, Gabor Varga and Christoph Zimper gave him new impulses in masterclasses. He also took part in several competitions and was awarded prizes such as the sponsorship award of the „Mozart Association Zurich“ and special prize in the „Concours National d‘Éxecution Musicale“. Jörg Widmann Fantasie *1973 per clarinetto solo Johannes Brahms Sonata n°1 in Fa minore op. 120 1833 – 1897 per clarinetto e pianoforte I. Allegro appassionato II. Andante, un poco adagio III. Allegretto grazioso IV. Vivace Luigi Bassi Fantasia da Concerto 1833 – 1871 su motivi del “Rigoletto” di Giuseppe Verdi per clarinetto e pianoforte Eva Bohte pianoforte Classe di clarinetto di François Benda e Jordi Pons Jörg Widmann – Fantasie Jörg Widmann, an internationally sought- after soloist and professor of clarinet at the Freiburg Musikhochschule, displays the exquisite refinement of contemporary clarinet sound in 'Fantasie' for solo clarinet. -
Kimberly Cole Luevano, DMA
Kimberly Cole Luevano, DMA College of Music 1809 Goshawk Lane University of North Texas Corinth, TX 76210 Denton, TX 76203 734.678.9898 940.565.4096 [email protected] [email protected] Present Appointments University of North Texas, Denton, TX. Professor 2018-present Associate Professor 2012-2018 Assistant Professor 2011-2012 Responsibilities include: • Teaching Applied Clarinet lessons. • Teaching Doctoral Clarinet Literature course (MUAG 6360). • Teaching pedagogy courses as needed (MUAG 4360/5360). • Serving on graduate student recital and exam committees. • Advising doctoral students in development and completion of dissertation work. • Assisting in coordination of instruction of clarinet concentration lessons, clarinet secondary lessons, clarinet minor lessons, and all clarinet jury examinations. • Assisting in oversight of graduate Teaching Fellow position. • Collaborating with faculty colleagues in their performances. • Assisting in instruction of woodwinds methods classes as needed. • Coaching student chamber ensembles as needed. • Recruitment and development of the clarinet studio. • Listening to ensemble auditions for placement of clarinetists in ensembles. Director: UNT ClarEssentials Summer Workshop 2011- 2018 • Artistic direction, administration, and oversight of all aspects of the 5-day on- campus event for high school clarinetists. Haven Trio (Lindsay Kesselman, soprano; Midori Koga, piano). 2012-present TrioPolis Trio (Felix Olschofka, violin; Anatolia Ioannides, piano) 2016-present Artist Clinician: Henri Selmer-Paris 2015 – present Artist Clinician: Conn-Selmer USA 2015 – present Artist Clinician: The D’Addario Company 2013- present Education Doctor of Musical Arts degree in Clarinet Performance, Michigan State University, East Lansing, MI. 1996 Master of Music degree in Clarinet Performance, Music History concentration, Michigan State University. 1994 Postgraduate Study, L’Ecole Normale de Musique de Paris, Paris, France. -
Keeping the Tradition Y B 2 7- in MEMO4 BILL19 Cooper-Moore • Orrin Evans • Edition Records • Event Calendar
June 2011 | No. 110 Your FREE Guide to the NYC Jazz Scene nycjazzrecord.com Dee Dee Bridgewater RIAM ANG1 01 Keeping The Tradition Y B 2 7- IN MEMO4 BILL19 Cooper-Moore • Orrin Evans • Edition Records • Event Calendar It’s always a fascinating process choosing coverage each month. We’d like to think that in a highly partisan modern world, we actually live up to the credo: “We New York@Night Report, You Decide”. No segment of jazz or improvised music or avant garde or 4 whatever you call it is overlooked, since only as a full quilt can we keep out the cold of commercialism. Interview: Cooper-Moore Sometimes it is more difficult, especially during the bleak winter months, to 6 by Kurt Gottschalk put together a good mixture of feature subjects but we quickly forget about that when June rolls around. It’s an embarrassment of riches, really, this first month of Artist Feature: Orrin Evans summer. Just like everyone pulls out shorts and skirts and sandals and flipflops, 7 by Terrell Holmes the city unleashes concert after concert, festival after festival. This month we have the Vision Fest; a mini-iteration of the Festival of New Trumpet Music (FONT); the On The Cover: Dee Dee Bridgewater inaugural Blue Note Jazz Festival taking place at the titular club as well as other 9 by Marcia Hillman city venues; the always-overwhelming Undead Jazz Festival, this year expanded to four days, two boroughs and ten venues and the 4th annual Red Hook Jazz Encore: Lest We Forget: Festival in sight of the Statue of Liberty. -
An Arthur Berger
AN ARTHUR BERGER New World Records 80360 RETROSPECTIVE with GILBERT KALISH, piano JOEL KROSNICK, cello CHRISTOPHER OLDFATHER, piano JOEL SMIRNOFF, violin DAVID STAROBIN, guitar Members of the Boehm Quintette Arthur Berger is a stalwart of the American concert tradition. No popularizer, he has for some fifty years been producing sturdily crafted pieces that spring from the mixed lineage of Stravinsky, Schoenberg, and Copland. Yet the style is all his own. At times it readily appeals. Always it challenges. Born in 1912 and raised in the Bronx, Berger first studied at City College and New York University, later at the Longy School of Music and at Harvard. He completed his formal education with Nadia Boulanger in Paris. From 1939 to 1943 he taught at Mills College and Brooklyn College, then began writing music criticism for the New York Sun and, principally, the New York Herald-Tribune. In 1953 Berger joined the faculty of Brandeis University; he has also taught at Harvard and the Juilliard School, and is currently on the faculty of the New England Conservatory. Like many of his composer contemporaries, Berger has been an important and prolific writer. In addition to his stints as a journalist, he founded two quite different periodicals, each an outgrowth of the notion of a "little magazine" directed to a special public. The first, The Musical Mercury, was started in 1934 by Berger and Bernard Herrmann--the man later famous as a Hollywood film composer. Although The Musical Mercury included some articles about new works, it mostly explored European compositions of the past. The journal with which Berger is most closely identified, however, is Perspectives of New Music, begun with Benjamin Boretz in 1962. -
Faculty Woodwind Quartet Flyer Earl Boyd Eastern Illinois University
Eastern Illinois University The Keep Music Programs The Earl Boyd Collection 2015 Faculty Woodwind Quartet Flyer Earl Boyd Eastern Illinois University Follow this and additional works at: http://thekeep.eiu.edu/earl_boyd_programs Part of the Music Commons Recommended Citation Boyd, Earl, "Faculty Woodwind Quartet Flyer" (2015). Music Programs. 29. http://thekeep.eiu.edu/earl_boyd_programs/29 This Book is brought to you for free and open access by the The Earl Boyd Collection at The Keep. It has been accepted for inclusion in Music Programs by an authorized administrator of The Keep. For more information, please contact [email protected]. 0 €astenn 1tt1nols Un1vens1ty w oo0w1n0 Quintet Dear Music Director: Your flutist, oboist, clarinetist, bassoonists, and hornists will welcome the opportunity to hear and work personally with the fine performers in the Eastern Illinois University Woodwind Quintet You are invited to write or call Rhoderick Key, Chairman, Music Department, Eastern Illinois University, Charleston, Illinois, 61920 Phone 217-581-2917 Scheduled to suit your program FLUTE - Robert C. Snyder, flutist, frequent recitalist in Illinois and recent performer at Carnegie Recital Hall in New York, clinician, · writer, and band direetor, graduated from Indiana University with a Masters Degree in Woodwinds and complet~ his doctorate in History and Literature at University of Missouri at Kansas City. He has studied with Vallie Kirk at Washburn University of Topeka, James Pellerite at Indiana University, and William Kincaid. OBOE -Joseph Martin, oboist, double-reed specialist, recitalist, and clinician, graduated with his Masters Degree in Education from East Carolina University in North Carolina. Mr. Martin directs a University stage band and assists in the Symphony Orchestra program. -
Solo List and Reccomended List for 02-03-04 Ver 3
Please read this before using this recommended guide! The following pages are being uploaded to the OSSAA webpage STRICTLY AS A GUIDE TO SOLO AND ENSEMBLE LITERATURE. In 1999 there was a desire to have a required list of solo and ensemble literature, similar to the PML that large groups are required to perform. Many hours were spent creating the following document to provide “graded lists” of literature for every instrument and voice part. The theory was a student who made a superior rating on a solo would be required to move up the list the next year, to a more challenging solo. After 2 years of debating the issue, the music advisory committee voted NOT to continue with the solo/ensemble required list because there was simply too much music written to confine a person to perform from such a limited list. In 2001 the music advisor committee voted NOT to proceed with the required list, but rather use it as “Recommended Literature” for each instrument or voice part. Any reference to “required lists” or “no exceptions” in this document need to be ignored, as it has not been updated since 2001. If you have any questions as to the rules and regulations governing solo and ensemble events, please refer back to the OSSAA Rules and Regulation Manual for the current year, or contact the music administrator at the OSSAA. 105 SOLO ENSEMBLE REGULATIONS 1. Pianos - It is recommended that you use digital pianos when accoustic pianos are not available or if it is most cost effective to use a digital piano. -
Roger Parker: Curriculum Vitae
1 Roger Parker Publications I Books 1. Giacomo Puccini: La bohème (Cambridge, 1986). With Arthur Groos 2. Studies in Early Verdi (1832-1844) (New York, 1989) 3. Leonora’s Last Act: Essays in Verdian Discourse (Princeton, 1997) 4. “Arpa d’or”: The Verdian Patriotic Chorus (Parma, 1997) 5. Remaking the Song: Operatic Visions and Revisions from Handel to Berio (Berkeley, 2006) 6. New Grove Guide to Verdi and his Operas (Oxford, 2007); revised entries from The New Grove Dictionaries (see VIII/2 and VIII/5 below) 7. Opera’s Last Four Hundred Years (in preparation, to be published by Penguin Books/Norton). With Carolyn Abbate II Books (edited/translated) 1. Gabriele Baldini, The Story of Giuseppe Verdi (Cambridge, 1980); trans. and ed. 2. Reading Opera (Princeton, 1988); ed. with Arthur Groos 3. Analyzing Opera: Verdi and Wagner (Berkeley, 1989); ed. with Carolyn Abbate 4. Pierluigi Petrobelli, Music in the Theater: Essays on Verdi and Other Composers (Princeton, 1994); trans. 5. The Oxford Illustrated History of Opera (Oxford, 1994); translated into German (Stuttgart. 1998), Italian (Milan, 1998), Spanish (Barcelona, 1998), Japanese (Tokyo, 1999); repr. (slightly revised) as The Oxford History of Opera (1996); repr. paperback (2001); ed. 6. Reading Critics Reading: Opera and Ballet Criticism in France from the Revolution to 1848 (Oxford, 2001); ed. with Mary Ann Smart 7. Verdi in Performance (Oxford, 2001); ed. with Alison Latham 8. Pensieri per un maestro: Studi in onore di Pierluigi Petrobelli (Turin, 2002); ed. with Stefano La Via 9. Puccini: Manon Lescaut, special issue of The Opera Quarterly, 24/1-2 (2008); ed.