Boosey & Hawkes Standard Scoring and Language Abbreviations
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Nomographs q = 66 Jeff Snyder gongs 5 crotalesf gongs crotales diamond-shaped noteheads indicate rattan beaters 5 Percussion 1 (Crotales / Gongs) 5 P F D diamond-shaped noteheads indicate rattan beaters gongs _ Percussion 2 (Glockenspiel / Gongs) 3 3 5 5 5 F p G diamond-shaped noteheads indicate rattan beaters 5 vibraphone gongs gongs 3 D, A_ vibraphone Percussion 3 (Vibraphone / Gongs) 5 F p 5 5 5 E A (crotales) A# (gong) 10 7 15 7 7 l.v. crotales gongs crotales Perc.1 gongs 5 5 f p p 7 7 7 7 Perc.2 p p A (vibraphone) gongs vibraphone C gongs vibraphone G E (gong) (vibraphone) 5 7 7 p pp Perc.3 gongs f P vibraphone p 7 p 5 (Ped.) p 7 2 (rattan on both side (damp all) A (crotales) 20 5 5 3 and center of gong) gongs 3 Perc.1 3 3 f (rattan on both side (l.v.) C# and center of gong) 3 3 3 3 3 3 Perc.2 vibraphone D (vibraphone) F vibraphone (damp all) 3 D# (gong) gong vibraphone C# gongs (vibraphone) Perc.3 3 3 5 5 gongs 3 5 25 crotales 5 30 B (rattan on side) (all) gongs 3 Perc.1 5 (rattan on both side 5 5 gongs 5 p 5 5 5 f (rattan on side) and center of gong) (all) -
University of Cincinnati
UNIVERSITY OF CINCINNATI Date: 29-Apr-2010 I, Tyler B Walker , hereby submit this original work as part of the requirements for the degree of: Doctor of Musical Arts in Composition It is entitled: An Exhibition on Cheerful Privacies Student Signature: Tyler B Walker This work and its defense approved by: Committee Chair: Mara Helmuth, DMA Mara Helmuth, DMA Joel Hoffman, DMA Joel Hoffman, DMA Mike Fiday, PhD Mike Fiday, PhD 5/26/2010 587 An Exhibition On Cheerful Privacies Three Landscapes for Tape and Live Performers Including Mezzo-Soprano, Bb Clarinet, and Percussion A dissertation submitted to the Division of Research and Advanced Studies of the University of Cincinnati in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in the Division of Composition, Musicology, and Theory of the College-Conservatory of Music 2010 by Tyler Bradley Walker M.M. Georgia State University January 2004 Committee Chair: Mara Helmuth, DMA Abstract This document consists of three-musical landscapes totaling seventeen minutes in length. The music is written for a combination of mezzo-soprano, Bb clarinet, percussion and tape. One distinguishing characteristic of this music, apart from an improvisational quality, involves habituating the listener through consistent dynamics; the result is a timbrally-diverse droning. Overall, pops, clicks, drones, and resonances converge into a direct channel of aural noise. One of the most unique characteristics of visual art is the strong link between process and esthetic outcome. The variety of ways to implement a result is astounding. The musical landscapes in this document are the result of an interest in varying my processes; particularly, moving mostly away from pen and manuscript to the sequencer. -
The KNIGHT REVISION of HORNBOSTEL-SACHS: a New Look at Musical Instrument Classification
The KNIGHT REVISION of HORNBOSTEL-SACHS: a new look at musical instrument classification by Roderic C. Knight, Professor of Ethnomusicology Oberlin College Conservatory of Music, © 2015, Rev. 2017 Introduction The year 2015 marks the beginning of the second century for Hornbostel-Sachs, the venerable classification system for musical instruments, created by Erich M. von Hornbostel and Curt Sachs as Systematik der Musikinstrumente in 1914. In addition to pursuing their own interest in the subject, the authors were answering a need for museum scientists and musicologists to accurately identify musical instruments that were being brought to museums from around the globe. As a guiding principle for their classification, they focused on the mechanism by which an instrument sets the air in motion. The idea was not new. The Indian sage Bharata, working nearly 2000 years earlier, in compiling the knowledge of his era on dance, drama and music in the treatise Natyashastra, (ca. 200 C.E.) grouped musical instruments into four great classes, or vadya, based on this very idea: sushira, instruments you blow into; tata, instruments with strings to set the air in motion; avanaddha, instruments with membranes (i.e. drums), and ghana, instruments, usually of metal, that you strike. (This itemization and Bharata’s further discussion of the instruments is in Chapter 28 of the Natyashastra, first translated into English in 1961 by Manomohan Ghosh (Calcutta: The Asiatic Society, v.2). The immediate predecessor of the Systematik was a catalog for a newly-acquired collection at the Royal Conservatory of Music in Brussels. The collection included a large number of instruments from India, and the curator, Victor-Charles Mahillon, familiar with the Indian four-part system, decided to apply it in preparing his catalog, published in 1880 (this is best documented by Nazir Jairazbhoy in Selected Reports in Ethnomusicology – see 1990 in the timeline below). -
The Percussion Family 1 Table of Contents
THE CLEVELAND ORCHESTRA WHAT IS AN ORCHESTRA? Student Learning Lab for The Percussion Family 1 Table of Contents PART 1: Let’s Meet the Percussion Family ...................... 3 PART 2: Let’s Listen to Nagoya Marimbas ...................... 6 PART 3: Music Learning Lab ................................................ 8 2 PART 1: Let’s Meet the Percussion Family An orchestra consists of musicians organized by instrument “family” groups. The four instrument families are: strings, woodwinds, brass and percussion. Today we are going to explore the percussion family. Get your tapping fingers and toes ready! The percussion family includes all of the instruments that are “struck” in some way. We have no official records of when humans first used percussion instruments, but from ancient times, drums have been used for tribal dances and for communications of all kinds. Today, there are more instruments in the percussion family than in any other. They can be grouped into two types: 1. Percussion instruments that make just one pitch. These include: Snare drum, bass drum, cymbals, tambourine, triangle, wood block, gong, maracas and castanets Triangle Castanets Tambourine Snare Drum Wood Block Gong Maracas Bass Drum Cymbals 3 2. Percussion instruments that play different pitches, even a melody. These include: Kettle drums (also called timpani), the xylophone (and marimba), orchestra bells, the celesta and the piano Piano Celesta Orchestra Bells Xylophone Kettle Drum How percussion instruments work There are several ways to get a percussion instrument to make a sound. You can strike some percussion instruments with a stick or mallet (snare drum, bass drum, kettle drum, triangle, xylophone); or with your hand (tambourine). -
Brass Teacherõs Guide
Teacher’s Guide Brass ® by Robert W.Getchell, Ph. D. Foreword This manual includes only the information most pertinent to the techniques of teaching and playing the instruments of the brass family. Its principal objective is to be of practical help to the instrumental teacher whose major instrument is not brass. In addition, the contents have purposely been arranged to make the manual serve as a basic text for brass technique courses at the college level. The manual should also help the brass player to understand the technical possibilities and limitations of his instrument. But since it does not pretend to be an exhaustive study, it should be supplemented in this last purpose by additional explanation from the instructor or additional reading by the student. General Characteristics of all Brass Instruments Of the many wind instruments, those comprising the brass family are perhaps the most closely interrelated as regards principles of tone production, embouchure, and acoustical characteristics. A discussion of the characteristics common to all brass instruments should be helpful in clarifying certain points concerning the individual instruments of the brass family to be discussed later. TONE PRODUCTION. The principle of tone production in brass instruments is the lip-reed principle, peculiar to instruments of the brass family, and characterized by the vibration of the lip or lips which sets the sound waves in motion. One might describe the lip or lips as the generator, the tubing of the instrument as the resonator, and the bell of the instrument as the amplifier. EMBOUCHURE. It is imperative that prospective brass players be carefully selected, as perhaps the most important measure of success or failure in a brass player, musicianship notwithstanding, is the degree of flexibility and muscular texture in his lips. -
Amjad Ali Khan & Sharon Isbin
SUMMER 2 0 2 1 Contents 2 Welcome to Caramoor / Letter from the CEO and Chairman 3 Summer 2021 Calendar 8 Eat, Drink, & Listen! 9 Playing to Caramoor’s Strengths by Kathy Schuman 12 Meet Caramoor’s new CEO, Edward J. Lewis III 14 Introducing in“C”, Trimpin’s new sound art sculpture 17 Updating the Rosen House for the 2021 Season by Roanne Wilcox PROGRAM PAGES 20 Highlights from Our Recent Special Events 22 Become a Member 24 Thank You to Our Donors 32 Thank You to Our Volunteers 33 Caramoor Leadership 34 Caramoor Staff Cover Photo: Gabe Palacio ©2021 Caramoor Center for Music & the Arts General Information 914.232.5035 149 Girdle Ridge Road Box Office 914.232.1252 PO Box 816 caramoor.org Katonah, NY 10536 Program Magazine Staff Caramoor Grounds & Performance Photos Laura Schiller, Publications Editor Gabe Palacio Photography, Katonah, NY Adam Neumann, aanstudio.com, Design gabepalacio.com Tahra Delfin,Vice President & Chief Marketing Officer Brittany Laughlin, Director of Marketing & Communications Roslyn Wertheimer, Marketing Manager Sean Jones, Marketing Coordinator Caramoor / 1 Dear Friends, It is with great joy and excitement that we welcome you back to Caramoor for our Summer 2021 season. We are so grateful that you have chosen to join us for the return of live concerts as we reopen our Venetian Theater and beautiful grounds to the public. We are thrilled to present a full summer of 35 live in-person performances – seven weeks of the ‘official’ season followed by two post-season concert series. This season we are proud to showcase our commitment to adventurous programming, including two Caramoor-commissioned world premieres, three U.S. -
Alternately Known As 1313; Originally Releases 1977 by UZ, 1977 by Atem, Numerous Intervening Reissues, 1990 by Cuneiform
UNIVERS ZERO UNIVERS ZERO CUNEIFORM 2008 REISSUE W BONUS TRACKS & REMASTER (alternately known as 1313; originally releases 1977 by UZ, 1977 by Atem, numerous intervening reissues, 1990 by Cuneiform) Cuneiform 2008 album features: Michel Berckmans [bassoon], Daniel Denis [percussion], Marcel Dufrane [violin], Christian Genet [bass], Patrick Hanappier [violin, viola, pocket cello], Emmanuel Nicaise [harmonium, spinet], Roger Trigaux [guitar], and Guy Segers [bass, vocal, noise effects] “ALBUM OF THE WEEK...Released in 1977, it was astonishing then: today, it sounds like the hidden source for every one of today's avant-garde rock bands. Chillingly beautiful, driven by the bassoon and cello more than the guitar and synth, each instrumental is both pastoral and burgeoning with terrible life. … This is edgy beyond belief. …Each piece magnificently refuses to deviate from its mood, its tense, thrilling, growling, restrained focus... The whole is like the rare, delicious bits of great film soundtrack that create menace and energy out of nowhere. … Univers Zero are a revelation …” – Sean O., Organ, #274, September 18th, 2008 “UZ's debut remains both benchmark and landmark. Reissued numerous times over the years…this definitive version finally presents this unprecedented music the way it was meant to be heard, clarifying how—emerging out of nowhere with little history to precede it— UZ has been so vital in changing the way chamber music is perceived. UZ's music was an antecedent for the kind of instrumental and stylistic interspersion considered normal today by groups including Bang on a Can and Alarm Will Sound. Henry Cow's complex, abstruse writing meets Bartok, Stravinsky, Messiaen and Ligeti, but with hints of early music, especially in UZ's use of spinet and harmonium. -
Cds by Composer/Performer
CPCC MUSIC LIBRARY COMPACT DISCS Updated May 2007 Abercrombie, John (Furs on Ice and 9 other selections) guitar, bass, & synthesizer 1033 Academy for Ancient Music Berlin Works of Telemann, Blavet Geminiani 1226 Adams, John Short Ride, Chairman Dances, Harmonium (Andriessen) 876, 876A Adventures of Baron Munchausen (music composed and conducted by Michael Kamen) 1244 Adderley, Cannonball Somethin’ Else (Autumn Leaves; Love For Sale; Somethin’ Else; One for Daddy-O; Dancing in the Dark; Alison’s Uncle 1538 Aebersold, Jamey: Favorite Standards (vol 22) 1279 pt. 1 Aebersold, Jamey: Favorite Standards (vol 22) 1279 pt. 2 Aebersold, Jamey: Gettin’ It Together (vol 21) 1272 pt. 1 Aebersold, Jamey: Gettin’ It Together (vol 21) 1272 pt. 2 Aebersold, Jamey: Jazz Improvisation (vol 1) 1270 Aebersold, Jamey: Major and Minor (vol 24) 1281 pt. 1 Aebersold, Jamey: Major and Minor (vol 24) 1281 pt. 2 Aebersold, Jamey: One Dozen Standards (vol 23) 1280 pt. 1 Aebersold, Jamey: One Dozen Standards (vol 23) 1280 pt. 2 Aebersold, Jamey: The II-V7-1 Progression (vol 3) 1271 Aerosmith Get a Grip 1402 Airs d’Operettes Misc. arias (Barbara Hendricks; Philharmonia Orch./Foster) 928 Airwaves: Heritage of America Band, U.S. Air Force/Captain Larry H. Lang, cond. 1698 Albeniz, Echoes of Spain: Suite Espanola, Op.47 and misc. pieces (John Williams, guitar) 962 Albinoni, Tomaso (also Pachelbel, Vivaldi, Bach, Purcell) 1212 Albinoni, Tomaso Adagio in G Minor (also Pachelbel: Canon; Zipoli: Elevazione for Cello, Oboe; Gluck: Dance of the Furies, Dance of the Blessed Spirits, Interlude; Boyce: Symphony No. 4 in F Major; Purcell: The Indian Queen- Trumpet Overture)(Consort of London; R,Clark) 1569 Albinoni, Tomaso Concerto Pour 2 Trompettes in C; Concerto in C (Lionel Andre, trumpet) (also works by Tartini; Vivaldi; Maurice André, trumpet) 1520 Alderete, Ignacio: Harpe indienne et orgue 1019 Aloft: Heritage of America Band (United States Air Force/Captain Larry H. -
The Journal of the Viola Da Gamba Society Text Has Been Scanned With
The Journal of the Viola da Gamba Society Text has been scanned with OCR and is therefore searchable. The format on screen does not conform with the printed Chelys. The original page numbers have been inserted within square brackets: e.g. [23]. Where necessary footnotes here run in sequence through the whole article rather than page by page and replace endnotes. The pages labelled ‘The Viola da Gamba Society Provisional Index of Viol Music’ in some early volumes are omitted here since they are up- dated as necessary as The Viola da Gamba Society Thematic Index of Music for Viols, ed. Gordon Dodd and Andrew Ashbee, 1982-, available on-line at www.vdgs.org.uk or on CD-ROM. Each item has been bookmarked: go to the ‘bookmark’ tab on the left. To avoid problems with copyright, some photographs have been omitted. Volume 31 (2003) Editorial, p. 2 Pamela Willetts Who was Richard Gibbon(s)? Chelys, vol. 31 (2003), pp. 3-17 Michael Fleming How long is a piece of string? Understanding seventeenth- century descriptions of viols. Chelys, vol. 31 (2003), pp. 18-35 David J. Rhodes The viola da gamba, its repertory and practitioners in the late eighteenth century. Chelys, vol. 31 (2003), pp. 36-63 Review Annette Otterstedt: The Viol: History of an Instrument, Thomas Munck Chelys, vol. 31 (2003), pp. 64-67 Letter (and reprinted article) Christopher Field: Hidden treasure in Gloucester Chelys, vol. 31 (2003), pp. 68-71 EDITORIAL It is strange, but unfortunately true, that to many people the term 'musicology' suggests an arid intellectual discipline far removed from the emotional immedi- acy of music. -
1 Requirements for the Call to Establish the Oboe/Cor Anglais
Requirements for the call to establish the oboe/cor anglais substitution pool for the Barcelona Symphony Orchestra 1- Purpose of the call The purpose of this call is the creation of a substitution pool, with the category of Senior Professor of Music (Tutti) in the specialty of oboe/cor anglais, to be hired in the mode of temporary employment, based on the needs of the Consorci de L’Auditori i l’Orquestra in the department of the Barcelona Symphony Orchestra (hereinafter OBC). The incorporation of temporary work personnel shall be limited to the circumstances established in the regulations, in line with the general principle of hiring staff at L'Auditori by means of passing through selective processes and whenever there are reasons for the maintenance of essential services, specifically: Temporary replacement of the appointees; Increase in staff for artistic needs for the temporary execution of programmes; The incorporations in any case must be made in accordance with the conditions stemming from the budgetary regulations. The incorporation of temporary work personnel shall be governed by the labour relations of a special nature for artists in public performances provided for in the Workers’ Statute and regulated by Royal Decree 1435/1985. The remuneration and the working hours shall be that agreed upon in the collective bargaining agreement. 2- Requirements for participation All requirements must be met by the deadline for submission of applications and must be maintained for as long as the employment relationship with the Consorci de l’Auditori i l’Orquestra should last. - Be at least 16 years of age and not exceed the age established for forced retirement. -
Baryton Trios, Vol. 2
Franz Josef Haydn Baryton trios Arranged for two clarinets and bassoon by Ray Jackendoff SCORE Volume 2 Trio 101 in Bb Trio 77 in F Trio 106 in C Franz Josef Haydn ! Baryton trios The baryton was a variation on the viola da gamba, with seven bowed strings and ten sympathetic strings. Haydn’s employer, Prince Nikolaus von Esterházy, played this instrument, and so it fell to Haydn to compose for it. Between 1761 and 1775 he wrote 126 trios for the unusual combination of baryton, viola, and cello, as well as other solo and ensemble works for baryton. As might be expected, many are rather routine. But some are quite striking, and reflect developments going on in Haydn’s composition for more customary ensembles such as the symphony and the string quartet. The six trios selected here are a sampling of the more !interesting among the trios. The trios are typically in three movements. The first movement is often slow or moderate in tempo; the other two movements are usually a fast movement and a minuet in one order or the other. Trio 96 is one of the few in a minor key; Trio 101 is unusual in having a fugal finale, !along the lines of the contemporaneous Op. 20 string quartets. In arranging these trios for two clarinets and bassoon, I have transposed all but Trio 96 down a whole step from the original key. I have added dynamics and articulations that have worked well in performance. We have found that the minuets, especially those that serve as final movements, !work better if repeats are taken in the da capo. -
Trumpet, Cornet, Flugelhorn GRADE 5 from 2017
Trumpet, Cornet, Flugelhorn GRADE 5 from 2017 THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C: LIST A 1 Bizet Chanson bohème. Great Winners, arr. Lawrance (Brass Wind: brass edition; B piano accomp. published & b separately) 2 J. Clarke The Prince of Denmark’s March. No. 9 from Old English Trumpet Tunes, Book 1, arr. Lawton (OUP) 3 Debussy The Girl with the Flaxen Hair. Winning Matrix for Trumpet, arr. Lawrance (Brass Wind: & brass edition; piano accomp. published separately) 4 John Frith Caber Dance ¸ Shining Brass, Book 2 (ABRSM: / brass edition; B piano accomp. published ˝ & ? b 5 David A. Stowell Jam Bouree ˛ separately) 6 Gibbons Coranto (ending at Fig. D). No. 2 from Gibbons Keyboard Suite for Trumpet, arr. Cruft (Stainer & Bell 2588: B b/C edition) 7 Hummel Romanze. Time Pieces for Trumpet, Vol. 3, arr. Harris and Wallace (ABRSM) 8 Schubert Ave Maria. Trumpet in Church, arr. Denwood (Emerson E283) 9 Verdi Triumphal March (from Aida). Onstage Brass for Trumpet, arr. Calland (Stainer & Bell H430) LIST B 1 Tom Davoren Lindy Hop! ¸ Shining Brass, Book 2 (ABRSM: / brass edition; B piano accomp. published ˝ & ? b 2 Peter Meechan Final Thought ˛ separately) 3 Barry Gray Thunderbirds. Great Winners, arr. Lawrance (Brass Wind: brass edition; B piano accomp. published & b separately) 4 Joplin Solace: A Mexican Serenade. Concert Repertoire for Trumpet, arr. Calland (Faber) 5 Bryan Kelly Miss Slight (Spinster of this Parish): No. 4 from Whodunnit – Suite for Trumpet (Stainer & Bell H442) 6 McCabe P. B. Blues: No. 3 from Dances for Trumpet (Novello NOV120530) 7 Prokofiev March (from The Love for Three Oranges).