DOCSLIB.ORG

A Graduate Recital Report

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A Graduate Recital Report Utah State University DigitalCommons@USU All Graduate Plan B and other Reports Graduate Studies 5-1970 A Graduate Recital Report Richard J. Muirhead Utah State University Follow this and additional works at: https://digitalcommons.usu.edu/gradreports Part of the Music Commons Recommended Citation Muirhead, Richard J., "A Graduate Recital Report" (1970). All Graduate Plan B and other Reports. 611. https://digitalcommons.usu.edu/gradreports/611 This Report is brought to you for free and open access by the Graduate Studies at DigitalCommons@USU. It has been accepted for inclusion in All Graduate Plan B and other Reports by an authorized administrator of DigitalCommons@USU. For more information, please contact [email protected]. A GRADUATE RECITA L REFDRT by Richard J. Huirhead Rerort of a recital performed in partial fulfill"-ent of the requirements for the degree of ·l1AS TER OF BUSIC in Applied Husic UTAH STATE UNIVERSITY Logan, Utah 1970 ACKNO\VLEDGENEN'IS Sincere appreciation is given to the members of ~ co ~~ ttee, Dr. 1-lilliam Ramsey, Dr. Alma Dittmer and Dr. 11ax Dalby, for their unselfishly giving me of their time, including holidays and weekends, to assist me ;Qth ~ special needs. I would like to particularly thank Dr. Rams~y , ~major professor, "no has guided me to a new insight of sineing ar.d ·,rho has helped to open a ;rhole ne1·1 field of repertoire for me . Debbie Schoonmaker, nw accompanist, deserves special praise and appreciation for her skill and musicRl talent ;,hich helped to make this recitel a success. Host i mp ortant of all, I wish to thank ~ ;Qfe , Alke, for her assistance and encouragerr.e nt in the preparing of t he reci tR1 and this paper. Richard J. Huirhead TABLE OF CONTEN1S Page RECI TAL PROGRAl·! 1 PROGRAl1 NOTES • 3 Dichterli e be 3 Di Provenza I l Har 3 La Bonne Chanson 3 Avant • De Quitter Ces Lieux 4 Four Seafarer 1 s Songs 4 TEX1S AND TRANS! .. ATIONS 5 Dichterl iebe 5 m Provenza Il Har 8 La Bonne Chanson 9 Avante De Quitter Ce s Lieux 11 DICHTEP.LIEBE 12 Schwnann 12 Heine • 13 German Lied 13 S tyl e • • 11 Anal ysis • 15 Im ;.;underscho~en Nona t ·l·!ai 15 Aus ne~nen 'l'ranen spr1essen . 16 D ~e Rose, die L~he , aleTaube 18 \-lenn Ich in deine Au s; en seh • 18 Ich Hill meine s·eele tauch8n 20 Im Rhein, im heEigen Strorr.e 21 ~olle nicl?~ • • • • 22 Und Hlissten 1 s die BlW:len, die Kiei~en 23 Das isteii1Fi6t8ri\ii'idTfeigen 24 Hor 1 ich das Liedchon klingen 26 Ein J (ingling liebt ein i·ii!dchen 27 Am l euchtenden So:-7'.:..:n1 r:wrgen 28 'fCFlliaii'Im-'l'rawn ge1·:e-:Lrlet" 31 Ailnici'itiich i m Traume 33 Au s al ten ITarchen 34 ~-lten , bosen Li~de; 37 UTAH STATE UNIVERSITY Logan, Utah DEPARn!ENT OF MUSIC 1968-69 GRADUAT E RECITAL Richard J. Muirhead Debbie Schoonmaker, Accompanist Dichterliebe , Opu s ~8 •••••••••••• Schumann 1. Im wunder sc honen Mona t Ha i 2. Au s meinen Tr~nen spriessen 3. Di e Rose, die Lilie, die Taube 4. Wenn ich in deine Augen seh 5. lch will meine Seele tauchen 6. Im Rhein, i m heilgen Strome 7. lch grolle nicht, und wenn das Herz 8. Und w~ssten's die Blumen 9. Das ist ein Fl~ten und Geigen 10. Hgr ich das Liedchen klingen 11. Ein J~n gling liebt ein N.~ldchen 12. Am leuch tend en Sommermorgen 13. I ch hab im Traum geweinet 14. Alln~chtlich i m Traume 'eh ich dich 15. Aus alten ~rchen winkt es 16. Di e altcn, bgsen Lieder Di Provenza il mar (La Traviata) • • • • • Verdi 1 N T E R H I S S I 0 N Five Songs from La Bonne Chanson Faure" 1·. Une Sainte en son aureole 2. Puisque l'aube grandit 3. La lune blanche luit dans les bois 4. J 1allais par des chemins perfides 5. J'ai presque peur, en v€rit€ Chase Fine Arts Center Cancer t Ha 11 Tuesday Evening Au gust Thirteenth Eight O'Clock 2 Avant de · quitter ces lieux (Faust) Gounod Four Seafarer's Songs, Opus 57 •• Bush 1. The Ship in Distress 2. Ratcliffe Highway 3. The Greenland Fishery 4. Jack the Jolly Tar In partial fulfillment of the graduation requirements .for the Master of Music de gree in Music Education. 3 PROGilAH HO'ES DIC H'lliRLIElB Robert Schmnann The song cycl e , Dicnterliebe, oas written during the tine Robert Schumann >·ras conte:nplatir.g na!"riagc to Clara ~-lieck. Schmnann 1 s s ensitive music and the poetry of Hein!"ich Eeine combine to make an e xquisite expression of the frust:-ation involved in a courtship. DI PROVENZA IL E~P. (LA TrtAVIA TA) Gi useppe Verdi I n the opera, La Traviata, the father of Alfredo has interfered i n the l ove life of his son, causing his son' s rrJ.stress, Violetta, to l eave him. As Alfredo r eads a lEotte!" l ei't b:t Violetta, telling him she no lonee!' l Oves him, his fatt.er tries t o console him in the aria Di Provenza Il i-iar. He remnds hi:n of the good, days he has had before he started his "reckless" life ad encourages hi::1 to return h ome to t he good life he had l eft. , LA BWNE CHANSOlJ Gabriel Faure Gabriel Faure' ·,:as one of the leadi:og co ~1posers of the mid- nineteenth century. So:ce authorities feel that his musi.c l ed the way f or Claude Debussy and i ~press ion~stic mus~ c in the latter part of the centu0~ . Tne m~cd of La B~~ne Chanson is in sharp c ont!"ast to t he Dichterliece, fo,- the :r.::.sic and t ext tell of the joy of being in love . 4 AVANT DE QUITTE?. CES LIEUX Charl es Gounod The aria, Avant De Quitter Ces Lieux, is one of the more popular arias from the opera, Faust. The aria is sung by Val entine to his sister l•:argaretta as he prepares to l eave for Har. FOUR SEAFA ?.E?. 15 So:ms. Alan Bush Alan Bush is a conter-.pory English composer considered by some t o be second only t o Benjamin Britten. His style of mitin~:: is very versatile i n the acco~pani me nt and his melodies are almost ah:ays very si"ga~le, being ,,rrittcn in a folk-song manner. His goal is to ;rritc music tha t can readily be underst ood and enjoyed by the average person as ,;ell as by the connoisseur of music. 5 TEX'IS AND TilANSU. TI ONS &OBE RT AL EX A ~ D ER SC~t."11AN:-1 81 8 OP, 4 8 ( HEt,;!) Didtuli<5e (•) (•) Im wund.:rs.:!10r.en ~[orut ~ [.11 , b the !ovdy r:to:"\:..t, of\ by. A.ls aile K;;.o s;><; n S? r.L'1:;:~ r.. 'lo:hen 21! tJ-.e bt:d;; o; e:"ed, Da ist in m.: i..i em Hcr.en Jo\·e un{o~Ced Die IJe!:.e at.;r,seo:·t;-:n. in myh~ :t. 1m ·~;:ur.de rs .:JtOn<! n Mor:J.t ~b.i, In the fo;·:!y n1o::t.'-t c!"~!ay. Als aile \'o~.: ! sar:g:.:n, " ·ben all U:e hire!; s.:1::;, Da hab ich i.\r g:.: :> :J.nden. Iconfe:>sdtoh.:r Mein ~!'!.nen und \ •er!ar::;:;-:1. my lo nc;L.,g -.nd Ct!'Sir:.. (•) (•) Aus meinen Tr :in~ n S?d:~:l F rom my~Jrs \ 'iel b li.ll~e:~de: D!u:r:cn her. or, rruny b!os;o:ns s;;:.~~ . Ur.d m.:in-: S.:ur;!er ~•.::rC-! :1 and my :>i;hs be ..:o~ -: I in :\':\ch ti:;..lller.c:'lor. a d1oir of r::~hti::;; .! !cs. Und "·:enn du ~:ch l: ::b h:ht, KinC,;:,.1-:.~n, And if ro~ -;o;j:J !C\"e r..~. d:3:j', Sch.:n!.;. i..:h dir die D:;.: m-: n ;ill, I l>.ill c;iv! )"0!.1 ::t!l t:.':!: f.o?. ·~~<s . Und \"O:" de!:'le:u F.:n;:-: :- soil klit1:;e:a Dls Li ed d:::r :-\Jc!l :iJl!l. ~~d :i~ ~~~-~~·!~~; ~ i.-:~ · (J) (J) Die Ro~, die Li!:e, Cie T.:a.::,e , dieS·.);":.!"!:, l 'h: r o~, t.l<!: lily, cl;"! ~ &\'e , :..\e !!.I :'I- Die li:;-bt i.;.,t, ei;.H J!!e ir.li~:: es.~o·o :-.r. .:. Ich J::b s:e r.id :~ r.:chr, i-:h :;~~::!.II:::-! : Die K!eine, di::- Fd:-:c, di: Hein~, d>.: [ir.:; !.\~;;,! :;~:~3~;~;jl;,~,:~~,~;D:: so S:e seiher, al ter LieSe\\ "o:'lr.~ uniq,t:.:; 1st Rose u:.d L: li.: 1.,;:'\d T::r..:~c u..od S,x·_,e. sh:;o hen.:!:, t:"-;e jo;- c.f a! l ;ns-:;:-,:'!, U rose) a.•d lily, ::t:'!:! Co\"<:1 ~:: ::! su:"'. (<) (<) W erw"\ ich in C :;oir:~ A u~en s2h, W: te n I loo:, into y o~ Cj'e;; So schwindct ::ll rr.e::1 Le i::I t.:nd \~·e:;; :zl! r.1y ;>.:!::~ J!',:! so:~o":": \ "::t:-, ;_;~; Doc..; 'i•.:cnn id1 J:~ss: c!eir:en \!ui1d, b~t wh e:-~ I k!ss yo'.:: t;s So weed ich ~ J.nz L'r: ..:! J:: :!r f;t.:S\!nd . 1 luve a!l !'-)" h i!'~::.i. -";;:in. \l.'cnn kh w.ic.'l lehn :1:1 c!:;o:r.~ Br..:s; \\"ben I br L'."J l-: ~ ~ o:-.
Load more

Recommended publications
  • Computational Methods for Tonality-Based Style Analysis of Classical Music Audio Recordings
    Fakult¨at fur¨ Elektrotechnik und Informationstechnik Computational Methods for Tonality-Based Style Analysis of Classical Music Audio Recordings Christof Weiß geboren am 16.07.1986 in Regensburg Dissertation zur Erlangung des akademischen Grades Doktoringenieur (Dr.-Ing.) Angefertigt im: Fachgebiet Elektronische Medientechnik Institut fur¨ Medientechnik Fakult¨at fur¨ Elektrotechnik und Informationstechnik Gutachter: Prof. Dr.-Ing. Dr. rer. nat. h. c. mult. Karlheinz Brandenburg Prof. Dr. rer. nat. Meinard Muller¨ Prof. Dr. phil. Wolfgang Auhagen Tag der Einreichung: 25.11.2016 Tag der wissenschaftlichen Aussprache: 03.04.2017 urn:nbn:de:gbv:ilm1-2017000293 iii Acknowledgements This thesis could not exist without the help of many people. I am very grateful to everybody who supported me during the work on my PhD. First of all, I want to thank Prof. Karlheinz Brandenburg for supervising my thesis but also, for the opportunity to work within a great team and a nice working enviroment at Fraunhofer IDMT in Ilmenau. I also want to mention my colleagues of the Metadata department for having such a friendly atmosphere including motivating scientific discussions, musical activity, and more. In particular, I want to thank all members of the Semantic Music Technologies group for the nice group climate and for helping with many things in research and beyond. Especially|thank you Alex, Ronny, Christian, Uwe, Estefan´ıa, Patrick, Daniel, Ania, Christian, Anna, Sascha, and Jakob for not only having a prolific working time in Ilmenau but also making friends there. Furthermore, I want to thank several students at TU Ilmenau who worked with me on my topic. Special thanks go to Prof.
    [Show full text]
  • AP Music Theory Course Description Audio Files ”
    MusIc Theory Course Description e ffective Fall 2 0 1 2 AP Course Descriptions are updated regularly. Please visit AP Central® (apcentral.collegeboard.org) to determine whether a more recent Course Description PDF is available. The College Board The College Board is a mission-driven not-for-profit organization that connects students to college success and opportunity. Founded in 1900, the College Board was created to expand access to higher education. Today, the membership association is made up of more than 5,900 of the world’s leading educational institutions and is dedicated to promoting excellence and equity in education. Each year, the College Board helps more than seven million students prepare for a successful transition to college through programs and services in college readiness and college success — including the SAT® and the Advanced Placement Program®. The organization also serves the education community through research and advocacy on behalf of students, educators, and schools. For further information, visit www.collegeboard.org. AP Equity and Access Policy The College Board strongly encourages educators to make equitable access a guiding principle for their AP programs by giving all willing and academically prepared students the opportunity to participate in AP. We encourage the elimination of barriers that restrict access to AP for students from ethnic, racial, and socioeconomic groups that have been traditionally underserved. Schools should make every effort to ensure their AP classes reflect the diversity of their student population. The College Board also believes that all students should have access to academically challenging course work before they enroll in AP classes, which can prepare them for AP success.
    [Show full text]
  • The Romantext Format: a Flexible and Standard Method for Representing Roman Numeral Analyses
    THE ROMANTEXT FORMAT: A FLEXIBLE AND STANDARD METHOD FOR REPRESENTING ROMAN NUMERAL ANALYSES Dmitri Tymoczko1 Mark Gotham2 Michael Scott Cuthbert3 Christopher Ariza4 1 Princeton University, NJ 2 Cornell University, NY 3 M.I.T., MA 4 Independent [email protected], [email protected], [email protected] ABSTRACT Absolute chord labels are performer-oriented in the sense that they specify which notes should be played, but Roman numeral analysis has been central to the West- do not provide any information about their function or ern musician’s toolkit since its emergence in the early meaning: thus one and the same symbol can represent nineteenth century: it is an extremely popular method for a tonic, dominant, or subdominant chord. Accordingly, recording subjective analytical decisions about the chords these labels obscure a good deal of musical structure: a and keys implied by a passage of music. Disagreements dominant-functioned G major chord (i.e. G major in the about these judgments have led to extensive theoretical de- local key of C) is considerably more likely to descend by bates and ongoing controversies. Such debates are exac- perfect fifth than a subdominant-functioned G major (i.e. G erbated by the absence of a public corpus of expert Ro- major in the key of D major). This sort of contextual in- man numeral analyses, and by the more fundamental lack formation is readily available to both trained and untrained of an agreed-upon, computer-readable syntax in which listeners, who are typically more sensitive to relative scale those analyses might be expressed. This paper specifies degrees than absolute pitches.
    [Show full text]
  • A Don West Reader West End Press
    Lincoln Memorial University LMU Digital Commons Copyright-Free Books Collection Special Collections 1985 In a Land of Plenty: A Don West Reader West End Press Don West Constance Adams West Follow this and additional works at: https://digitalcommons.lmunet.edu/csbc Part of the Appalachian Studies Commons, and the Poetry Commons Recommended Citation End Press, West; West, Don; and West, Constance Adams, "In a Land of Plenty: A Don West Reader" (1985). Copyright-Free Books Collection. 1. https://digitalcommons.lmunet.edu/csbc/1 This Book is brought to you for free and open access by the Special Collections at LMU Digital Commons. It has been accepted for inclusion in Copyright-Free Books Collection by an authorized administrator of LMU Digital Commons. For more information, please contact [email protected]. With sketches Constance Adams West No Grants This book is not supported any grant, governmental, corporate or PS 3545 .E8279 16 1985 private. It is paid for, directly or indirectly, by the people who support and In a land of plenty have Don West's vision, and it both reflects and proves their best - The publisher No Purposely this book is not copyrighted. Poetry and other creative efforts should be levers, weapons to be used in the people's struggle for understanding, human rights, and decency. "Art for Art's Sake" is a misnomer. The poet can never be neutral. In a hungry world the struggle between oppressor and oppressed is unending. There is the inevitable question: "Which side are you on?" To be content with as they are, to be "neutral," is to take sides with the oppressor who also wants to keep the status quo.
    [Show full text]
  • Parallel Keys and Remote Modulation in Selected String
    1 MacKay, James. “Another Look at Chromatic Third-Related Key Relationships in Late Haydn: Parallel Keys and Remote Modulation in Selected String Quartet Minuets.”.” HAYDN: Online Journal of the Haydn Society of North America 8.2 (Fall 2018), http://haydnjournal.org. © RIT Press and Haydn Society of North America, 2018. Duplication without the express permission of the author, RIT Press, and/or the Haydn Society of North America is prohibited. Another Look at Chromatic Third-Related Key Relationships in Late Haydn: Parallel Keys and Remote Modulation in Selected String Quartet Minuets by James MacKay Loyola University Abstract As asserted by Ethan Haimo in a 1990 article, Joseph Haydn’s Piano Trio in A-flat major, Hob. XV: 14 (1789-90), comprises his first use of a chromatic third relationship between movements of an instrumental work, with a I—flat VI—I tonal plan. This harmonic strategy, immediately taken up by Beethoven in his Piano Trio in G major, Op. 1 no. 2 (slow movement in E, VI) and his Piano Sonata in C major, Op. 2 no. 3 (slow movement in E, III), quickly became a conventional feature of early 19th-century tonality. Such third-related shifts in Haydn’s instrumental music occur earlier than 1790, especially in his string quartet Minuet-Trio movements, often built around a parallel major-parallel minor pairing of keys and their relatives. For instance, in Haydn’s String Quartet in F major, Op. 50 no. 5 (Der Traum), third movement, Haydn effects a chromatic third modulation in two stages: touching briefly upon the parallel key (f minor) in the trio, then moving immediately to its relative major, A-flat (i.e.
    [Show full text]
  • 1 2 | Lonestarmusic Lonestarmusic | 3
    LoneStarMusic | 1 2 | LoneStarMusic LoneStarMusic | 3 inside this issue SHOVELS AND ROPE pg 38 O’ What Two Can Do The triumphant union, joyful noise and crazy good times of Cary Ann Hearst and Michael Trent by Kelly Dearmore FEATUREs 34 Q&A: Paul Thorn — By Lynne Margolis 48 Sunny Sweeney finds the light — By Holly Gleason 52 Lee Ann Womack: When I come around — By Richard Skanse 56 Cory Branan: The wandering musical spirit of Americana’s free-ranging “No-Hit Wonder” — By Adam Daswon 58 Imagine Houston: An excerpt from Reverb, the new novel by Joe Ely Photo courtesy of All Eyes Media 4 | LoneStarMusic LoneStarMusic | 5 after awhile inside this issue Publisher: Zach Jennings Editor: Richard Skanse Notes from the Editor | By Richard Skanse Creative Director/Layout: Melissa Webb Cover Design: Melissa Webb Advertising/Marketing: Kristen Townsend Apart from the opportunity to work with a team of really good people Advertising: Tara Staglik, Erica — especially graphic designer Melissa Webb, who I’d already known and Brown greatly respected for years — one of the things that appealed most to me Artist & Label Relations: Kristen Townsend about joining this magazine five years ago was owner Zach Jennings’ vision that LoneStarMusic could be about more than just Texas music. Even more Contributing Contributing and Writers Photographers than Texas Red Dirt music. We all agreed that we would still focus on songwriters and roots and/or country(ish) music — pretty much anything Richard Skanse John Carrico that could directly or even indirectly fall under the category of “Americana” in Lynne Margolis Lynne Margolis Brian T.
    [Show full text]
  • It's All Relative
    Forte clip ‘n’ save It’s All Relative Some Keys Have More in Common than You Think At first glance, the E major and C# minor scales make for easy and natural-sounding key changes. seem to have nothing in common. They start on Composers frequently take advantage of this. For example, sonata-allegro form—the musical structure different notes. They have opposite tonalities— found in the first movement of most symphonies— one major and one minor. However, they do have always uses an opening theme in one key and a one very important similarity: Both share F#, second theme in the relative key. C#, G#, and D# in their key signatures. Because Relative keys are not to be confused with parallel of their identical key signatures, E major and keys, which share the same tonic—that is, the first scale degree—but do not share a key signature. This C# minor are known as relative keys. means, simply, that A major and A minor are parallel Each major key has a relative minor, and vice versa. keys, B major and B minor are parallel keys, and so To find a major key’s relative minor, count down one- on. To find the correct key signature for a parallel and-a-half steps, or a minor third. For example, if you minor key, lower the third, sixth, and seventh scale are given the key of D major, count down a minor degrees; alternately, to find the key signature of a third from D to B, which tells you that the relative key parallel major key, raise the third, sixth, and seventh is B minor.
    [Show full text]
  • How Should Corpus Studies of Harmony In
    Proceedings of the Future Directions of Music Cognition International Conference, 6–7 March 2021 How should corpus studies of harmony in popular music handle the minor tonic? Trevor de Clercq1† 1 Department of Recording Industry, Middle Tennessee State University, Murfreesboro, TN, USA † Corresponding author: [email protected] changed to another (Table 2). Chords with a root of Abstract scale-degree b7, for example, most often moved to Corpus studies of harmony in popular music normally assume chords with a root of 1, 4, and b6 and not often to chords a singular tonic pitch assigned to scale-degree 1, which with a root of 2, 5, or 6. That said, the question of highlights similarities in chord organization between parallel whether these findings supported one theory of keys. Recently, Nobile (2020) posits a “double-tonic complex” in rock, where two tonics—a major chord and its harmonic organization or another was, we admitted, a relative minor—are active simultaneously, such that matter of interpretation. similarities in chord organization manifest between relative keys. Using Kullback-Leibler divergence as a metric, I assess Table 1: Distribution of the eight most common in a corpus of classical music and a corpus of popular music chromatic roots in the RS 5x20 corpus. how well chord organization given a minor tonic is modeled by chord organization in the parallel and relative major. I Root n n/N show that chord organization in the classical corpus is 1 3,058 .328 modeled well by the parallel key encoding, but chord 4 2,104 .226 organization in the popular music corpus shows mixed results.
    [Show full text]
  • All Audio Songs by Artist
    ALL AUDIO SONGS BY ARTIST ARTIST TRACK NAME 1814 INSOMNIA 1814 MORNING STAR 1814 MY DEAR FRIEND 1814 LET JAH FIRE BURN 1814 4 UNUNINI 1814 JAH RYDEM 1814 GET UP 1814 LET MY PEOPLE GO 1814 JAH RASTAFARI 1814 WHAKAHONOHONO 1814 SHACKLED 2 PAC CALIFORNIA LOVE 20 FINGERS SHORT SHORT MAN 28 DAYS RIP IT UP 3 DOORS DOWN KRYPTONITE 3 DOORS DOWN HERE WITHOUT YOU 3 JAYS IN MY EYES 3 JAYS FEELING IT TOO 3 THE HARDWAY ITS ON 360 FT GOSSLING BOYS LIKE YOU 360 FT JOSH PYKE THROW IT AWAY 3OH!3 STARSTRUKK ALBUM VERSION 3OH!3 DOUBLE VISION 3OH!3 DONT TRUST ME 3OH!3 AND KESHA MY FIRST KISS 4 NON BLONDES OLD MR HEFFER 4 NON BLONDES TRAIN 4 NON BLONDES PLEASANTLY BLUE 4 NON BLONDES NO PLACE LIKE HOME 4 NON BLONDES DRIFTING 4 NON BLONDES CALLING ALL THE PEOPLE 4 NON BLONDES WHATS UP 4 NON BLONDES SUPERFLY 4 NON BLONDES SPACEMAN 4 NON BLONDES MORPHINE AND CHOCOLATE 4 NON BLONDES DEAR MR PRESIDENT 48 MAY NERVOUS WRECK 48 MAY LEATHER AND TATTOOS 48 MAY INTO THE SUN 48 MAY BIGSHOCK 48 MAY HOME BY 2 5 SECONDS OF SUMMER GOOD GIRLS 5 SECONDS OF SUMMER EVERYTHING I DIDNT SAY 5 SECONDS OF SUMMER DONT STOP 5 SECONDS OF SUMMER AMNESIA 5 SECONDS OF SUMMER SHE LOOKS SO PERFECT 5 SECONDS OF SUMMER KISS ME KISS ME 50 CENT CANDY SHOP 50 CENT WINDOW SHOPPER 50 CENT IN DA CLUB 50 CENT JUST A LIL BIT 50 CENT 21 QUESTIONS 50 CENT AND JUSTIN TIMBERLAKE AYO TECHNOLOGY 6400 CREW HUSTLERS REVENGE 98 DEGREES GIVE ME JUST ONE NIGHT A GREAT BIG WORLD FT CHRISTINA AGUILERA SAY SOMETHING A HA THE ALWAYS SHINES ON TV A HA THE LIVING DAYLIGHTS A LIGHTER SHADE OF BROWN ON A SUNDAY AFTERNOON
    [Show full text]
  • Gtrbook1.Pdf
    www.guitartheoryrevolution.info Guitar Theory Revolution 2011 1 © 2011 by Cornelis Blokland www.guitartheoryrevolution.info All rights reserved Cornelis Blokland reserves the copyright for the terms: 'Five Fret Pattern' and the 'Universal Note Pattern' Mike George retains all rights to the Color and Shape Code that is depicted on page 11 of this book and that is used in all fretboard diagrams, as well as the term Color Music®. You can find out more about Color Music® at: http://mycolormusic.com Cover illustration and all diagrams created by Daniel Blokland: www.blokland.co.uk www.guitartheoryrevolution.info Guitar Theory Revolution 2011 2 Contents Introduction 6 How To Use This Book 7 Chapter 1: Learning the fretboard 1.1 Numbering the strings 8 1.2 The note names 9 1.3 Learning the notes on the fretboard 10 1.4 Colours and shapes 11 1.5 The 'Universal Note Pattern' 12 1.6 Diagrams for the notes F, G, A, B, C, D and E 13 1.7 Exercises 15 1.8 Test yourself 16 1.9 Filling in the blanks 18 1.10 Chapter summary 18 Chapter 2: The Five Fret Pattern and Intervals 2.1 Relationships and distances between notes 19 2.2 How the guitar is tuned 20 2.3 The 'Five Fret Pattern' 21 2.4 Descending Five Fret Pattern 23 2.5 Why the Five Fret Pattern is Useful 23 2.6 So what is an interval? 24 2.7 Chapter summary 25 Chapter 3: The Major and Natural Minor scale 3.1 The Major scale 26 3.2 The Natural Minor scale 28 3.3 Exercises 29 3.4 Chapter summary 31 www.guitartheoryrevolution.info Guitar Theory Revolution 2011 3 Chapter 4: The CAGED chord pattern 4.1 Major
    [Show full text]
  • International Torrance Legacy Creativity Awards International Torrance Legacy Creativity Awards
    2017 International Torrance Legacy Creativity Awards International Torrance Legacy Creativity Awards Creative Writing Visual Arts Music Composition Inventions Creative Writing 1 2 2016 International Torrance Legacy Creativity Awards Table of Contents 5 Overview 38 Land Beyond the Eye 73 Creative Writing: Ages 16-18 Hamza Hasan Winners List 7 Creative Writing 41 The Rising Sun 74 My Mama’s Roots 8 Creative Writing: Ages 8-10 Ella Guzman Sarah Baldino Winners List 43 Black Rain 75 An Overdue Spoon 9 Mathus Antonius Speaks Chere Low Angkana Annie Chotikul Tanmay Kulkarni 44 2000 76 A Mountain’s View 10 Change Vivien Le Qi Sue Haemaru Chung Priya Bartlett 46 Expectation 77 Letter to Oscillating Body 10 Staying in the Light Tham Yun Xin Cindy Song Maya Wylie 78 Serving Strokes 11 Over the Mountains 48 Creative Writing: Ages 13-15 Shelley Choi Hannah Story Steinberg Winners List 79 Mechanical Lake 12 The Cat-Sitting Calamity 49 All That I Need Stephanie Tom Nina Vigil Shriya Singh 80 Terra Forming 14 The Grasshopper and the Ant, 50 Lost in Evermore Emma Kim as Retold by the Grasshopper Jacqueline Lo Callum Wyer 82 31 Flavors, 31,000 Marching 51 Rice Dumplings Na Kyoung (Diana) Lee 15 Once in a Blue Moon Siu Ching Lee Sarah Franco-Vila 84 Into the Thunderstorm 52 infinitely unstoppable Haemaru Chung 17 Escape to Monaflorence Tonya Hu Molly Slupik 86 A Thousand Words 53 And After Nina Curran 22 Journal of My Visit to the Capital Kenny Kim Headquarters of Laboratories and Robotics 88 The Lost Key Institutes of Technology 54 Constantinople Amrita Bhasin Hudson Guzman Joel Kai-En Hoe 90 Last Night in Little Rock 24 A Monkey Tale 55 Shadow Paintings Matthew Fan Violetta Dacre Christina Wong 93 Any Cold Night 57 Fraying Constellation Jaeho Kim 26 Creative Writing: Ages 11-12 Rachel Liang Winners List 95 Promenade Beginnings 59 That Darn Rabbit Kyra Si-Chen Du 27 Night Surfing Cindy Wang Tyler A.
    [Show full text]
  • Minor Keys and Key Signatures Introduction
    Lesson WWW: Minor Keys and Key Signatures Introduction: Lesson VVV discusses how pieces that draw primarily from the pitches of a major scale are said to be in that major key. Similarly, pieces that draw primarily from the pitches of a minor scale—a scale based on the W-H-W-W-H-W-W pattern of whole steps and half steps—are said to be in that minor key. Minor key signatures can likewise be derived from the accidentals of the corresponding minor scale. It is important, however, to keep in mind that minor key signatures reflect the diatonic (or, natural ) form of the minor scale, not the harmonic or melodic composites. In this lesson we will discuss how a minor key is constructed and established as well as how minor key signatures are written and used. Minor keys: Lesson UUU discusses the construction of major scales and the various names given to each scale degree. All of the degrees of a minor scale have names as well. For the most part, these names are the same as those of major keys. The few differences are due to the lower scale degrees 3, 6, and 7. The following example shows the three systems used to label and refer to minor scale degrees: Example 1: The scale degree numbers, of course, remain the same. The solfège syllables mi , la , and ti are changed to me , re , and te to reflect the lowering of those scale degrees. The only difference in the scale degree names is that scale degree 7, in its lowered form, is now referred to as the subtonic .
    [Show full text]