Stream-Shine Concerto for Violin and Orchestra

Total Page:16

File Type:pdf, Size:1020Kb

Stream-Shine Concerto for Violin and Orchestra Colin Riley Stream-Shine concerto for violin and orchestra Score 2019 ce-cr1ss1-dl-fs ce- Colin Riley Stream-Shine Concerto for V i o li n and Orchestra 2 c 18 mins 3 Solo Violin 2 Flutes (one doubling piccolo) 2 Oboes 2 Clarinets 2 Bassoons 2 Trumpets 2 Horns Percussion 1 (Glock, Suspended Cymbal, High Woodblock, Snare, Cowbell, Bass Drum) Percussion 2 (Vibes, Tam Tam, Chinese Cymbal, Low Woodblock, Maraca, Single Crotale, Hi-Hat, Cardboard) Harp Strings (8.6.6.4.2) 4 5 Slow and poised q = 52 ° 3 U U U U Flutes & 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 3 U U U U Flute & 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 3 U U U U Oboes & 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 3 U U U U Oboe & 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 3 U U U U Clarinets in Bb & 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 3 U U U U Clarinet in Bb & 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ? 3 U U U U Bassoons 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ U U U U Bassoon ? 3 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ¢ 4 Off-stage, playing single chime bar (soft beater) - one player only Play soft, repeating notes for the indicated duration E ° U U U E U Trumpets in Bb 3 ∑ ∑ ∑ ∑ ∑ & 4 Y™ Y™ Y™ Y™ Y™ Y™ Y™ Y™ Y™ Y™ Y™ G 3 U U U ∑ ∑ U Horns in F & 4 ∑ ∑ ∑ ∑ ∑ Y™ Y™ Y™ Y™ Y™ Y™ Y™ Y™ ∑ ¢ Off-stage, playing single chime bar (soft beater) #Y™ Y™ Y™ Y™ Y™ Y™ Y™ Y™ Play soft, repeating notes for the indicated duration C# ° 3 U U U U Percussion 1 / 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ U U U U Glockenspiel 3 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ¢& 4 ° 3 U U U U Percussion 2 / 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ U U U U Vibraphone 3 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ¢& 4 U U U U Harp 3 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ {& 4 sounding pitch œ™ #œ ˙ #œ #˙ œ ™ ™ ™ ™ ™ ™ ™ ™ ™ ™ œ ˙ œ œ œ ™ œ œ œ œ œ ˙ œ 3 œ™ J U œ™ œ ˙™ œ™ œ J U U œ™ J U °& 4 ‰ ∑ ‰ ‰ ∑ ∑ ‰ Œ Œ ∑ Violin III II III II II III II IV oI IoII ≥ ≤o ≥o U ≤o ≥o o O™ O™#Oo ™ O #Oo #O O U U ≤o ≥o o o o U 3 O™ O™ O O ‰ ∑ O™ O™ O™ ‰ J ‰ ∑ ∑ O™ O™ O™ O™ O™ O™ O™ O ‰ Œ Œ ∑ ¢& 4 J O O™ O™ J p p ppp p pp ppp ppp pp ° 3 U U U U Violin I & 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 3 U U U U Violin II & 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 3 U U U U Viola B 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ? 3 U U U U Violoncello 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ U U U U Contrabass B 3 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ¢ 4 6 17 ° Fl. & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Fl. & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Ob. & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Ob. & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Cl. & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Cl. & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Bsn. ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Bsn. ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ¢ ° slowly (and quietly) move back to your seated position Tpt. ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ & Y™ Y™ Y™ Y™ Y™ Y™ G slowly (and quietly) move back to your seated positions ∑ ∑ Hn. & ∑ Y™ Y™ Y™ Y™ Y™ Y™ Y™ Y™ Y™ ∑ ∑ ¢ #Y™ Y™ Y™ Y™ Y™ Y™ Y™ Y™ Y™ C# bowed ° bowed Glock. ∑ ∑ ∑ ∑ ∑ Œ j ‰ Œ Œ ∑ ∑ ∑ ∑ Œ ¢& ˙ ˙™ œ ˙ ˙™ ppp p ppp ¡A ¡A ° Vib. & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ œ œ j ¢ bœœ œ œ ™ œœ ˙˙™ ˙˙™ ppp E, F, G, A, Bb, C, D Hp. & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Œ Œ ‰ j j ‰ Œ Œ ∑ { œ œ pp p œ ˙™ ° ˙ œ œ™ J & ∑ ∑ ∑ ∑ ∑ Œ J ‰ Œ Œ ∑ ∑ ∑ ∑ ∑ Œ III Vln. II IoII ≥ ≤o ≥o ∑ ∑ ‰ O O ‰ Œ Œ ∑ ∑ ∑ ∑ ‰ O™ O O™ ¢& j J j J ˙™ ˙™ ˙™ œ ˙™ œ ppp ppp ppp con sord ppp ppp ≤ ≥ ° ˙™ Ó™ ˙™ ˙ Œ Ó™ Œ ˙ ˙™ œ œ œ™ œj ˙™ Ó™ Vln. I & ˙™ ˙ Œ ∑ ∑ ˙™ ˙™ œ Œ Œ ∑ ∑ Œ ˙ ˙™ œ œ œ™ œ ˙™ œ Œ Œ ppp ppp J pp≤p pp ≥ con sord ppp ppp ≤ ≥ Vln. II Œ Ó Œ ∑ Œ Ó™ ∑ ∑ Œ j & ˙˙™ ˙˙™ œ Œ Œ ˙˙™ ˙˙™ ˙™ Œ ˙˙ ˙˙™ œœ œœ œœ™ œœ ˙˙™ ˙˙™ ppp ppp J pp≤p pp ≥ con sord ≤ ≥ Vla. ˙™ ˙™ ˙™ ˙™ ˙ ˙ ˙™ œ œ œ™ œ ˙™ ˙™ B ∑ ∑ Œ ∑ ∑ Œ J ppp ppp ppp pp ≤ con sord ≥j ˙™ ˙™ ˙ ˙™ ˙™ ˙™ ˙ Œ ˙˙ ˙˙™ bœœ œœ œœ™ œœ ˙˙™ ˙˙™ Vc. ? Œ ∑ Œ ∑ J Œ Œ ppp ppp pp≤p pp ≥ ˙o ™ ˙™ ˙™ œ ˙o ™ ˙™ ˙™ ˙™ œ Cb. B Œ Œ Œ Œ ∑ ∑ ∑ ∑ ∑ ¢ ppp ppp 7 31 ° Fl. & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Fl. & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Ob. & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Ob. & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Cl. & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Cl. & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Bsn. ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Bsn. ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ¢ ° Tpt. & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Hn. ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ¢& bowed ° with glock beateœrs Glock. j ‰ Œ Œ ∑ ∑ ∑ j ‰ Œ Œ Œ Œ ≈ ™ #œ™ œ™ ˙™ ˙™ ¢& J æ æ æ œ ˙™ ˙™ œ p œ™ æ æ æ p ppp p pæpp æ æ ° Vib. & ∑ ∑ ∑ j ∑ ∑ ∑ ∑ ¢ bœœ œœ œœ™ œœ ˙˙™ œœ b˙˙ ˙˙™ ppp ™ ™ ™ Hp. & ∑ ∑ Œ Œ ‰ j j ‰ Œ Œ ∑ ∑ ∑ ∑ ∑ ∑ ∑ { œ œ pp p œ™ #œ™ œ™ #œ™ œ™ œ™ œ™ ˙ œ™ ˙™ œ ™ œ œ™ œ™ °& J ‰ Œ Œ ∑ ∑ ∑ œ ‰ Œ ∑ I III II Vln. III II IV o o ≥ o o o O™ O™ o ™ ™ ™ ™ ™ ™ O ‰ Œ Œ ∑ ∑ ‰ O™ O™ O™ ‰ #O O #O O O O O Œ ∑ ¢& J j O O™ ˙ œ p ppp pp ppp ≤ ≥ ≥ ≤ ° Œ Œ œ ˙™ œ œ œ™ œj ˙™ œ ˙ ˙™ Ó™ Œ ˙ Vln. I ∑ œ ˙™ œ œ™ œ ∑ ∑ ˙ & Œ Œ œ Jœ ˙™ ˙ ˙™ œ Œ Œ Œ pp≤p pp ≥ ≥ ppp≤ Œ Œ Œ ≤ ≥j ≥ Œ Œ ≤ Vln. II & ˙ œœ ˙˙™ œ œœ œœ™ œ ˙ œœ ˙ ˙ ˙ ˙ ∑ ˙˙ ˙™ œ Œ ™ œ ™ Jœ ˙™ ˙ ˙™ ˙™ ˙™ Œ pp≤p pp ≥ ≥ ppp≤ ≤ ≥ ≥ ≤ Vla. B œ Œ Œ Œ Œ œ ˙™ œ œ œ™ œ ˙™ œ ˙ ˙™ ˙™ œ Œ Œ ∑ Œ ˙ J ppp pp ppp ≤ ≤ ≥j ≥ Œ Œ œœ ˙˙™ bœœ œœ œœ™ œœ ˙˙™ œœ b˙˙ ˙˙™ ˙˙™ ˙˙™ ˙™ Œ ˙˙ Vc. ? ∑ J Œ Œ Ó™ Œ pp≤p pp ≥ ≥ ppp ≤ Cb. B ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ¢ 8 42 ° Fl. & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Fl. & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Ob. & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Ob. & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Cl. & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Cl. & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Bsn. ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Bsn. ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ¢ ° Tpt. & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Hn. ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ¢& Suspended Cymbal ¡A¡A ° ˙™ ˙™ œ ˙™ ˙™ ˙™ Perc 1 / ∑ ∑ ∑ æ æ J ‰ Œ Œ ∑ ∑ æ æ æ æ æ æ æ æ ppp mp f ppp mf Glock. <#>˙™ œ ‰ Œ Œ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ¢& æ J æ mf f ° Vib. ∑ j ∑ ∑ ∑ ¢& œœ œœ œœ™ œœ ˙˙™ œœ ˙˙ ˙˙™ ˙˙™ ˙˙™ ˙˙™ bpœpp ™ œ ˙ ™ b˙ ˙ ™ ™ ™ ™ œo ™ ˙o ˙o B o o o o Hp. Œ Œ ‰ j ‰ Œ Œ ∑ ∑ ∑ ∑ Œ Œ œ œ™ œ œ œ ‰ Œ Œ {& j œ J œ p mf p pp p œ œ ˙ œ œ™ œ œ ˙™ œ™ #œ ˙™ œ™ œ œ ˙ œ J J J °& ∑ Œ ‰ ‰ Œ Œ ∑ ∑ I I Vln. o III II III III IV o o o o o o o Oo O IV O O Oo ™ O O ∑ Œ O O™ O™ ‰ J J ‰ Œ Œ ∑ ∑ ¢& O #O O™ O™ j p O O pp ppp o pp ≥ ≥ ≤ ≥ ° ˙™ œ œ œ™ œj ˙ œj ‰ œ ˙ ˙™ #˙™ œ Ó Vln. I ˙™ œ œ™ œ ˙™ ˙™ ∑ ∑ ∑ ∑ & œ Jœ ˙ Jœ ‰ ˙ ˙™ pp ≥ ≥ p≥p pp ≥j j ‰ ≥ ≤ ≥ Vln. II & ˙˙™ œ œœ œœ™ œ ˙ œ œœ ˙ ˙ ˙˙™ ˙˙™ œ Œ Œ ∑ ∑ ∑ ™ œ ™ Jœ ˙ Jœ ˙ ˙™ ™ ™ pp ‰ ≥ ≥ pp≥ ≥ ≥ ≤ Vla. ˙™ œ œ œ™ œ ˙ œ œ ˙ ˙™ ˙™ ˙™ ˙™ B J J ‰ ∑ ∑ ∑ pp pp ≥ pp ≥j j ‰ ≤ ˙˙™ bœœ œœ œœ™ œœ ˙˙ œœ œœ b˙˙ ˙˙™ ˙˙™ ˙˙™ ˙˙™ ˙˙™ ˙™ Vc. ? J J ∑ ‰ Œ Ó™ pp ≥ ≥ pp Cb. B ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ¢ A Moving on slightly q = 52 9 53 ˙ ˙™ ˙ ° ˙™ œ œ œ™ œ ˙™ œ ˙ #˙™ ˙ œ œ #œ œ™ #œ œ Fl. & J J ‰ J Œ ∑ p p j ˙ ˙ ˙ Fl. ™ ™ #œ œ ™ & ˙™ œ œ œ™ œ ˙™ œ ˙ ˙ ˙ œ ‰ œ œ œ J Œ ∑ p J p j Ob. j ˙™ ˙ œ ˙ ˙™ ˙ & ˙™ œ œ œ™ œ ˙™ œ ˙ J ‰ œ œ œ™ œ œ Œ ∑ p p j Ob. & ∑ ∑ ∑ ∑ ˙™ ˙ œ ‰ ∑ Œ ˙ ˙™ ˙ Œ ∑ pp pp j Cl. j j ™ & ˙™ œ œ œ™ œ ˙™ œ ˙ ˙™ ˙ œ ‰ œ œ œ™ œ œ ˙ ˙ ˙ Œ ∑ p p Cl. j j ‰ j ˙ ˙ ˙ Œ ∑ & ˙™ œ œ œ™ œ ˙™ œ ˙ ˙™ ˙ œ œ œ œ™ œ œ ™ p p ™ ˙™ œ œ œ™ œ ˙™ œ ˙ ˙™ ˙ œ œ œ œ™ œ œ ˙ ˙ ˙ Bsn. ? J J ‰ J Œ ∑ p p ˙ ˙ ˙ ˙™ bœ œ œ™ œ ˙™ œ b˙ ˙™ ˙ œ bœ œ œ™ œ œ ™ Bsn. ? J J ‰ J Œ ∑ ¢ p p ° Tpt. & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Hn. ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ¢& ° >œ Perc 1 / J ‰ Œ Œ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ff œ œ Glock. ∑ ∑ ∑ ∑ ∑ ‰™ ™ #œ™ ∑ ∑ ∑ ∑ ‰™ ™ #œ™ ¢& p œ™ œ™ mp Chinese Cymbal ¡A ¡A ° ˙™ ˙™ œ Perc 2 / ∑ ∑ æ æ J ‰ Œ Œ ∑ ∑ ∑ ∑ ∑ ∑ ¢ æ æ ppp mp f Hp. ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ {& œ™ #œ™ œ œ™ #œ™ œ™ #œ™ œ™ œ™ œ™ ˙ œ™ ° ∑ ∑ ∑ ∑ ‰™ ∑ ∑ ∑ ‰™ III Vln. I III II o o I III II o ™ o ™ ≥o O ˙ œ ˙ O™ o ™ o ™ ≥o o o o ˙™ œ œ™ œ œ ˙™ œ ˙ œ™ O O #O™ O œ #œ™ œ #œ œ O O #O™ O™#O™ O™ O™ ¢& J J mp mf mp mf senza sord ˙™ ˙™ ° Vln. I & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ppp mp senza sord ˙™ ˙™ ˙™ Vln. II & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ppp mp senza sord ˙™ ˙™ ˙™ ˙™ Vla. B ∑ ∑ ∑ ∑ ∑ ∑ ∑ & ppp mp senza sord o ˙™ ˙™ ˙™ ˙™ ˙™ Vc. ? ∑ ∑ ∑ ∑ ∑ ∑ ppp mp B ? Cb. ∑ ∑ ∑ ∑ j ‰ ∑ ∑ ∑ ∑ ∑ ¢ ˙™ ˙ œ mp Moving on even more q = 60 10 64 ° Fl. & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Fl. & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Ob. & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Ob. & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Cl. & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Cl. & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Bsn. ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Bsn. ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ¢ ° Tpt. & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Hn. ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ¢& ° ˙ #œ #œ œ™ #œ™ œ œ ˙ Glock. œ œ ˙ œ œ™ œ œ ∑ ∑ ∑ ¢& œ J ˙™ ˙™ ˙™ mp p mf p Tam-Tam ° ˙™ Perc 2 / ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ æ æ ¡A ¡A p j Vib. & ˙˙ #œœ œœ œœ™ #œœ™ œœnœœ œ œ #˙˙ ∑ ∑ ∑ ¢ ˙ œ œ œ œ ™ œ œ bœ œ ˙˙ nœœ œœ œœ™ œœ œœ ˙ ˙˙™ ˙˙™ ˙˙™ mp n˙ œ œ œ ™ n˙ ™ ˙ ™ ˙ ™ p mf p E, F#, G#, A, G# D B, C#, D G, C C# D# G ˙ #œ #œ œ™ #œ™ œ œ œ œ #œj œ #˙ Hp. & ˙ œ# œ œ™ œ™ œ œ nœ œ #˙ œ #œ œ™# œ œ ˙ ˙™ ˙™ ˙™ ∑ ∑ ∑ { ˙ œ #œ œ™ œ™ œ œ n œ œ # ˙ œ# œ œ™ œ œ n˙ ˙™ ˙™ ˙™ mp ˙ œ œ œ™ n˙™ ˙™ ˙™ p mf p #œ œ œ œ ˙ œ™ œ™ œ™ œ™ œ™ œ™ œ œ œ ˙ œ œ #œ œ œ ° œ œ J œ J J J & Œ Œ ∑ ∑ ∑ Œ Œ ‰ J ‰ ‰ Œ ≥ Vln. œ™ œ œ œ œ™ I œ œ œ#œ™ #œ œ™ #œ œ III II II III IV I o o o o #œ œ o o IoII o IIoI o o Oo IoV Oo ™ Oo ™ Oo ™ Oo ™ Oo ™ Oo ™ Oo Oo >O #O O O O ‰ J J j O O O ‰ J ‰ Œ ¢& O O J O#O j j f mf mp O O f mf >j Ó™ Ó™ #˙™ ˙™ œ œ ‰ Œ ˙™ ˙™ ˙™ ˙™ œ œ ° J Vln. I & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ‰ Œ ppp m>f ˙™ ˙™ ˙™ ˙™ ˙™ œ >œ Vln.
Recommended publications
  • 028-102-801 I4.Pdf
    BELLSYSTEM PRACTICES SECTION 028-102-801 AT& TCo Standard Issue 4, April 1980 BELLS,SIGNALS, AND CHIMES • SOLENOID TYPE PIECE-PART DATA AND REPLACEMENTPROCEDURES • CONTENTS PAGE 1. GENERAL 1. GENERAL 2. APPARATUS 2 1.01 This section covers piece-part data and replacement procedures for maintenance of 3. PIECE-PART DATA 2 the KS-5595, KS-6918, KS-6919, KS-6920, KS-7228, KS-7752, and KS-20375 solenoid type bells, KS-5594 4. REPLACEMENT PROCEDURES 11 and KS-8229 solenoid type signals, and the KS-22001 • solenoid type chimes . Figures 1.02 This section is reissued for the following reasons: 1. KS-5595, LS Through Ll0, KS-6918, KS-6919, KS-6920, KS'-7228 and KS-7752 Bells 3 • To rate the KS-5594, Ll, L2, L3, L4, L5, L9, and LIO signals Mfr Disc. 2. KS-20375, Ll, Bell 2 • To rate the KS-5595, Ll, L2, L3, and L4 3. KS-5594, LS, L9, and ll0 Signals (Mfr bells Mfr Disc. Disc.) 5 • To rate the KS-6921 bells Mfr Disc. 4. KS-5594, L6, L7, and LS Signals 6 • • To rate the KS-8229, L13, L14, L15, and 5. KS-5594, L7, and LS Signals - Bar Harp L23 signals Mfr Disc. 7 • To add coverage on the KS-20375 bells 6. KS-5594, L6, Signal - Bar Harp 7 • To add coverage on the KS-22001, Ll through 7. KS-8299, L13, L14, and L15 Signals (Mfr L7 chimes Disc.) 8 • To include changes from Addendum, Issue 1 8. KS-8229, L23, Signal (Mfr Disc.) 9 • To update the piece-part numbers on all • 9.
    [Show full text]
  • Bass Clarinet and Untuned Percussion
    funk for bass clarinet (or E♭contrabass/contra-alto clarinet) and untuned percussion Chris Dench funk for bass clarinet and untuned percussion (may also be played on E♭ contra-alto clarinet) duration: 9 minutes Chris Dench (1988-89) for Carl Rosman and Peter Neville Must have took me for a fool Not funk but funk conquered is what is When they chucked me out of school worthy of admiration and makes life ’Cos the teacher knew I had the funk… worth having been lived. Thomas Morgan Dolby Robertson Ludwig Wittgenstein Hyperactive Notebook entry 1940 Percussion Instruments 5 tomtoms Also coperto: 5 small squares of cloth with string tied to one corner. Other end of string tied to outside of tomtoms so that to begin the piece—tomtoms coperti—cloths are on the skins, and can be flicked off during I and K without problems. 5 cymbals Third cymbal a sizzle cymbal; splashy colours. 5 woodblocks 5 cowbells Straight, trumpet variety; not almglocken. logdrum Or wooden slit-drum; two pitches. 2 brake blocks Or other resonant metal blocks; no discernible pitch content. 2 small suspended bells Not pretty, hung pieces of resonant metal will do; higher pitched than brake blocks; no discernible pitch content. 2 bongos & 2 timbales Bongos and timbales function as treble and alto tomtoms. kick bass drum Deep toned. Chinese cymbal A large foot-choked hi-hat may be substituted. 2 tamtams Hung behind player so that they can be struck without looking. Player could use elbows or fists, gently. whip or slapstick Two wooden boards struck together.
    [Show full text]
  • Key Stage 1 Lesson Plans 54509 Sefton Music - KS1 Layout 1 22/09/2017 09:03 Page 2
    54509 Sefton Music - KS1_Layout 1 22/09/2017 09:03 Page 1 Key Stage 1 Lesson Plans 54509 Sefton Music - KS1_Layout 1 22/09/2017 09:03 Page 2 Disclaimer The content within this document is for informative purposes only and may be used, reproduced or adapted to suit local need and priorities for non-commercial purposes. As a condition of using any content within this document, users agree to indemnify the authors and SKY Music Hub (Sefton MBC and Knowsley MBC) from and against any and all actions, claims, losses, damages, liabilities and expenses (including legal fees) arising out of their use of any content. “Singing Sherlock Book 1 (pub. B&H) and 3 Little Pigs (pub. A&C Black) have been purchased and are provided as a supporting resource to this scheme of work.” 54509 Sefton Music - KS1_Layout 1 22/09/2017 09:03 Page 3 Key Stage 1 - Lesson Plan Autumn Unit 1 - Class bands Autumn Unit 2 - Toys In this unit we will be exploring vocal, instrumental and body In this unit we shall use our voices in different ways. We will percussion sounds. We shall be learning to handle percussion listen and move to music, keeping the steady beat, there will be instruments and follow the conductors instructions to start, stop opportunities to play simple rhythm patterns. Children will be and make loud and quiet sounds. able to choose sounds using instruments in response to a stimulus and identify changes in high/low, loud and quiet sounds. Spring Unit 1 – Weather / Chinese new Year Spring Unit 2 - Spring In this unit the children are exploring their voices, instruments In this unit we shall use instrumental sounds to create a simple and body sounds to make sound effects for a rain storm.
    [Show full text]
  • PP Drums 2013.Pdf
    PP Drums_2013_PP 2006 03/10/2012 12:31 Page 2 PP Drums_2013_PP 2006 03/10/2012 12:32 Page 3 Contents 2-5 Drum Kits and Snare Drums 6 Stands, Drum Stools & Bass Drum Pedals 7 Drumsticks, Brushes, Cymbals & Practice Pads 8 Bags & Drum Tech Drum Parts 9 Congas, Bongos, Glockenspiel & Roto Toms 10 Cajóns, Djembes, Samba Drums & Tambourines 11 Bodhrans and Drums 12-16 Educational Percussion Sets & Packs 16 Thunder Tubes and Bead Brains 17 Multi-Cultural Instruments & Shakers 18-19 Hand Percussion Instruments Performance Percussion PP300R Metallic Red The #1 Percussion Choice! Never before have drums and percussion instruments enjoyed such an exciting profile in music. From subtle shaker tracks adding a highly effective ‘feel good’ rhythm factor to some of the funkiest chart R&B songs, to the thundering, tightly-syncopated low-end rhythms of hard rock and nu-metal, interest levels in the power and dynamics of drumming and percussion are at an all-time high. It’s time to get involved! But where to start? Well, make sure you start with the best you can buy – that’s why the comprehensive PP Drums range of drum kits, accessories and percussion instruments (traditional and multi-cultural) are the #1 choice as the best value, best equipped entry and education level range of drums and percussion. Great choice, great value, great performance; right from the convenience of PP Drums’ superb ‘everything you need to play now!’ drum kit packs, right through The PP300 has many excellent to PP World educational percussion instruments that all school children everywhere can join in with, having “qualities: it’s well-made, has fun while they learn valuable rhythm basics! sturdy hardware and good sound properties...” magazine Remo® has well and truly earned its reputation as the acknowledged 'drummer's drumheads', The PP300s come fitted* with Remo® drum heads as standard! * playing heads fitted on snare and tomtoms, bass drum front and back.
    [Show full text]
  • December 2002
    PORTABLE • BILL STEWART • CONSUMERS POLL RESULTS DENNISDENNIS CHAMBERS,CHAMBERS, KARLKARL PERAZZO,PERAZZO, RAULRAUL REKOWREKOW SSANTANAANTANA’’SS FFINESTINEST RRHYTHMHYTHM TTEAMEAM?? WWEEZEREEZER’’SS PPATAT WWILSONILSON TTHROUGHHROUGH TTHEHE YYEARSEARS WWITHITH TTERRYERRY BBOZZIOOZZIO NNEWEW FFOUNDOUND GGLORYLORY’’SS CCYRUSYRUS BBOLOOKIOLOOKI TTRADINGRADING FFOURSOURS WWITHITH PPHILLYHILLY JJOEOE $4.99US $6.99CAN 12 PPLUSLUS CCARLOSARLOS SSANTANAANTANA TTALKSALKS DDRUMMERSRUMMERS!! 0 74808 01203 9 ContentsContents Volume 27, Number 12 Cover photo by Paul La Raia SANTANA’S DENNIS CHAMBERS, RAUL REKOW, AND KARL PERAZZO The heaviest rhythm section in rock has just gotten heavier. Even Carlos Santana himself is in awe of his new Dennis Chambers–led ensemble. a a by Robin Tolleson i i a a R R a a L L l l u u a a 56 P P UPDATE 24 Portable’s Brian Levy WEEZER’S Wayward Shamans’ Barrett Martin AT ILSON 80 P W Fugazi’s Brendan Canty From Neil Peart obsessive to Muppet hostage, Pat Wilson has Mickey Hart been through a lot in ten years with Daryl Stuermer’s John Calarco pop gods Weezer. Oh, he plays the heck out of the drums, too. by Adam Budofsky MD CONSUMERS POLL RESULTS 50 The best in today’s gear—according to you. A DIFFERENT VIEW 74 a a i i a a NEW FOUND R R CARLOS SANTANA a a L L Just a sample of his drum cohorts over the l l GLORY’S u u a a years: Michael Shrieve, Jack DeJohnette, Horacio P P CYRUS BOLOOKI Hernandez, Tony Williams, Carter Beauford, 150 Chester Thompson, and now, Dennis Chambers. Even a disastrous fall from a Take your seats, class is about to begin.
    [Show full text]
  • Export Prices 2010
    Prisliste vinter 2010/11 Art.nr. Beskrivelse Nok inkl.mva MS1091 Set 5 Hand Chimes kr 1 360 MS1414 Bass Instrument STAND kr 3 340 PP001 Soprano Diatonic GLOCKENSPIEL - PP001 kr 899 PP002 Soprano Chromatic Half GLOCK - PP002 kr 730 PP003 Alto Diatonic GLOCKENSPIEL - PP003 kr 1 220 PP004 Alto Chromatic Half GLOCK - PP004 kr 980 PP006 Soprano Chromatic GLOCK - PP006 kr 1 403 PP007 Alto Full Chromatic GLOCK - PP007 kr 1 840 PP009 Educ CHIMES Diat set of 8 - PP009 kr 1 928 PP010 Educ CHIMES Chrom set of 5 - PP010 kr 1 230 PP011 Educ CHIME FRAME - PP011 kr 3 398 PP012 Educ Chimes MALLET - PP012 kr 162 PP014 FRAME CHIMES (TUBULAR BELLS) PP014 kr 2 160 PP017 Soprano Diatonic METALLOPHONE - PP017 kr 3 146 PP018 Soprano Chromatic Half METALLO - PP018 kr 2 033 PP019 Alto Diatonic METALLOPHONE - PP019 kr 4 070 PP020 Alto Chromatic Half METALLO - PP020 kr 2 720 PP021 Bass Diatonic METALLOPHONE - PP021 kr 7 976 PP022 Bass Chromatic Half METALLO - PP022 kr 5 183 PP023 Soprano Diatonic XYLOPHONE - PP023 kr 3 060 PP024 Soprano Chromatic Half XYLO - PP024 kr 1 880 PP025 Alto Diatonic XYLOPHONE - PP025 kr 3 600 PP026 Alto Chromatic Half XYLO - PP026 kr 2 390 PP027 Bass Diatonic XYLOPHONE - PP027 kr 7 080 PP028 Bass Chromatic Half XYLO - PP028 kr 4 868 PP030 RAINTUBE - PP030 kr 920 PP032 6" (15) TRIANGLE Concert - PP032 kr 198 PP034 6"(15) TAMBOUR Wood shell - PP034 kr 263 PP035 8"(20) TAMBOUR Wood shell - PP035 kr 286 PP036 10"(25) TAMBOUR Wood shell - PP036 kr 298 PP038 6"(15) TAMBOURINE Wood shell - PP038 kr 337 PP040 8"(20) TAMBOURINE Wood shell - PP040
    [Show full text]
  • Sonor Orff Catalog
    Effective from 2012 Orff_Catalog_Cover_E_2012.indd 1 06.07.2012 16:58:15 Uhr WELCOME TO THE WORLD OF ORFF Many years of experience, along with our passion for Chime bars, for example, offer many educational innovation and quality, have made our instruments an possibilities for therapy and group lessons. They essential component of classrooms around the world – play an important role in musical language therapy and have made SONOR the global market leader. It all for the hearing impaired, as auditory potential can started in 1875 with a small drumhead workshop in be activated through the exceptional vibration Weißenfels an der Saale, Germany. Founded by the lathe characteristics of the Sub Contra and Contra Bass turner and whittawer, Johannes Link, a flourishing Bars. business grew out of modest beginnings. By the turn of the century, an extensive variety of percussion At Sonor, we are proud of our long history and are instruments were being manufactured by the Link indebted to the entrepreneurial spirit of the Link family. family. The close and continuing collaboration with pedagogues and therapists, who support our seminars Carl Orff and Gunild Keetman developed the Orff- and are involved in product development, is the basis Schulwerk method in the late 1940’s. Their unique for our practice-oriented focus today. approach to elementary music and movement started to gain more popularity mainly due to the broadcasting We strive to honor SONOR’s reputation for tradition, of ”Schulwerk programs“ on Bavarian radio. The innovation, quality and service. Most importantly, Links’ foresight, along with their passion and vision we aspire to create instruments that live up to your for expanding the range of products, provided the expectations, support your work in the best possible inspiration for the development of SONOR Orff way and … Instruments which were officially included in the to give you music-making pleasure! production range in 1953.
    [Show full text]
  • (EN) SYNONYMS, ALTERNATIVE TR Percussion Bells Abanangbweli
    FAMILY (EN) GROUP (EN) KEYWORD (EN) SYNONYMS, ALTERNATIVE TR Percussion Bells Abanangbweli Wind Accordions Accordion Strings Zithers Accord‐zither Percussion Drums Adufe Strings Musical bows Adungu Strings Zithers Aeolian harp Keyboard Organs Aeolian organ Wind Others Aerophone Percussion Bells Agogo Ogebe ; Ugebe Percussion Drums Agual Agwal Wind Trumpets Agwara Wind Oboes Alboka Albogon ; Albogue Wind Oboes Algaita Wind Flutes Algoja Algoza Wind Trumpets Alphorn Alpenhorn Wind Saxhorns Althorn Wind Saxhorns Alto bugle Wind Clarinets Alto clarinet Wind Oboes Alto crumhorn Wind Bassoons Alto dulcian Wind Bassoons Alto fagotto Wind Flugelhorns Alto flugelhorn Tenor horn Wind Flutes Alto flute Wind Saxhorns Alto horn Wind Bugles Alto keyed bugle Wind Ophicleides Alto ophicleide Wind Oboes Alto rothophone Wind Saxhorns Alto saxhorn Wind Saxophones Alto saxophone Wind Tubas Alto saxotromba Wind Oboes Alto shawm Wind Trombones Alto trombone Wind Trumpets Amakondere Percussion Bells Ambassa Wind Flutes Anata Tarca ; Tarka ; Taruma ; Turum Strings Lutes Angel lute Angelica Percussion Rattles Angklung Mechanical Mechanical Antiphonel Wind Saxhorns Antoniophone Percussion Metallophones / Steeldrums Anvil Percussion Rattles Anzona Percussion Bells Aporo Strings Zithers Appalchian dulcimer Strings Citterns Arch harp‐lute Strings Harps Arched harp Strings Citterns Archcittern Strings Lutes Archlute Strings Harps Ardin Wind Clarinets Arghul Argul ; Arghoul Strings Zithers Armandine Strings Zithers Arpanetta Strings Violoncellos Arpeggione Keyboard
    [Show full text]
  • Early Years and Foundation Stage Lesson Plans 54509 Sefton Music - EYFS Layout 1 22/09/2017 09:08 Page 2
    54509 Sefton Music - EYFS_Layout 1 22/09/2017 09:08 Page 1 Early Years and Foundation Stage Lesson Plans 54509 Sefton Music - EYFS_Layout 1 22/09/2017 09:08 Page 2 Disclaimer The content within this document is for informative purposes only and may be used, reproduced or adapted to suit local need and priorities for non-commercial purposes. As a condition of using any content within this document, users agree to indemnify the authors and SKY Music Hub (Sefton MBC and Knowsley MBC) from and against any and all actions, claims, losses, damages, liabilities and expenses (including legal fees) arising out of their use of any content. “Singing Sherlock Book 1 (pub. B&H) and 3 Little Pigs (pub. A&C Black) have been purchased and are provided as a supporting resource to this scheme of work.” 54509 Sefton Music - EYFS_Layout 1 22/09/2017 09:08 Page 3 Early Years and Foundation Stage Teaching Input and Creative Opportunities In this scheme we have offered various activities to facilitate creative opportunities. In the first instance these will be teacher led input sessions. The taught sessions build on the main dimensions of music such as pitch, pulse and rhythm, and musical concepts such as tempo, dynamics, timbre and duration. The scheme uses singing and vocal work as a foundation for learning, and includes a repertoire of simple songs and rhymes for the children to learn by heart and internalise. Additionally, movement and actions are an essential component to children’s musical development at this age. It also includes naming and making sounds with tuned and untuned instruments.
    [Show full text]
  • Zen Alarm Clock Booklet
    Clock Book 6/6/05 2:43 PM Page 1 Now & Zen® quality of thought, stillness of being The Zen Alarm Clock ® for a progressive awakening 1 Clock Book 6/6/05 2:43 PM Page 2 Contents Page I. Introduction––Zen Alarm Clock Basics 4 1. Uses and Benefits 4 The Zen Alarm Clock ® 2. Progressive Awakening 5 II. Dreamwork and the Zen Alarm Clock 9 The Clock and Booklet were conceived, designed 1. The Power of Dreams 9 and written by Steve McIntosh 2. Dream Physiology 10 3. Dream Incubation & Conservation Using the Clock 12 Made in Shen Zhen China, exclusively for III. Affirmations and the Zen Alarm Clock 16 Now & Zen, Inc. 1. Programming Your Preconscious for a Better Life 16 2. Brain Wave Physiology & Alpha Waves 17 P.O. Box 110 3. Creating Your Own Affirmations & Using the Clock 19 Boulder, Colorado IV. Meditation and the Zen Alarm Clock 21 80306 1. The Meditative State 21 2. Using the Chime to End Your Meditation 22 The name “Zen Alarm Clock” and the phrase 3. Meditating on the Chime 23 “for a progressive awakening” are trademarks of V. Graceful Social Transitions and the Zen Alarm Clock 26 Now & Zen. 1. Being Here Now & Being On Time 26 2. Progressive Chime Applications 27 © 2004 Now & Zen, Inc. VI. The Zen Alarm Clock’s Design Principles 29 Eighth Printing 1. The Chime’s Pythagorean Tuning 29 2. The Chime’s Golden Mean Progression 30 U.S. Patent Number 390,121 VII. Instructions and Technical Considerations 34 VIII. About Now & Zen 40 2 3 Clock Book 6/6/05 2:43 PM Page 4 Introduction a ten minute period until the chime reaches the “terminal cycle” in which it sounds every 4.7 seconds continuously until it is turned I.
    [Show full text]
  • A Whistle and a Blast for Your Class!
    A Whistle and a Blast for your Class! A Teacher’s guide to introducing Music into the Classroom Acknowledgements: Mayo Education Centre Desmond Downes (Design & Layout), Eamonn Carolan, Kate Kennedy Copyright © The WhistleBlast Quartet 2009 Photos with kind permission of Culleens - Ballina, Kilmovee, St Joseph’s - Ballinrobe and Derrywash National Schools. bigstockphoto.com ContentsContents page Foreword The WhistleBlast Quartet is aptly named. 1 An Introduction to the Booklet 2 It is a quartet of some of Ireland’s finest A Brief History of The WhistleBlast Quartet musicians, who have a passion for the role of The Value of Music in the Classroom the creative imagination in music education and are themselves inspirational teachers and facilitators. 2 Rhythm Games 4 Including “counting in” and “counting out” They whistle a blast of inspirational fresh musical ideas to all who are lucky enough to 3 Percussion Instrument List with Photographs 6 come within hearing range. Introduction to Percussion Through their workshops and performances, their commitment and enthusiasm has 4 Chime Bars with Photographs 8 already had a profound effect on thousands Introduction to Chime Bar Playing of children and adults alike. Anyone who has attended their presentations leaves with a 5 An Introduction to Voice and Singing 10 sense of excitement and understanding of the vital importance of music as a means of self Including well known songs expression and communication. 6 Developing “Frère Jacques” and Ravel’s “Bolero” with children’s 12 The WhistleBlast Teachers’ Summer School own instruments or available classroom instruments and this associated booklet are completely in keeping with the spirit and structure of 7 Developing a Music Session including samples of 16 the Revised Primary Music Curriculum.
    [Show full text]
  • Music Curriculum
    A A Music Curriculum Music Overview Autumn Term Spring Term Summer Term Autumn 1 Autumn 2 Spring 1 Spring 2 Summer 1 Summer 2 Year 1 Ourselves Animals Machines Our School Story Time Travel Number Weather Seasons Pattern Our Bodies Water Year 2 Ourselves Our Land Animals Story Time Weather Water Toys Our Bodies Number Seasons Pattern Travel Year 3 Environment Sounds China In the Past Human Body Ancient Worlds Building Time Singing French Poetry Communication Food and drink Year 4 Poetry Sounds Building Ancient Worlds Communication In the Past Environment Recycling Around the Food and World Singing Spanish Time Drink Year 5 Our Solar System Life Cycles Keeping At the Movies Celebration Community Healthy World Unite Journeys Growth Roots Class Awards Moving On Year 6 Year 1 ULUM Autumn Term Spring Term Summer Term Ourselves Animals Machines Our School Story Time Travel Number Weather Seasons Pattern Our Bodies Water Autumn 1 Autumn 2 Spring 1 Spring 2 Summer Summer 2 1 Exploring Pitch Beat Exploring Exploring Performance Musical sounds sounds sounds Focus Exploring Beat sounds Pitch Beat Beat Pitch Create, respond Understand Play percussion Sing a song Rehearse and Combine voices to, place and (recognise) pitch: instruments at together as a perform a rap and movement to Key Skills change vocal make high and low different speeds group. with sound perform a chant sounds. vocal sounds Sing a (tempi). Create a effects using and a song. Explore, create song with contrasting Play and control soundscape using voices. Create, play and and place vocal high and low changes in instruments.
    [Show full text]