grain for 17 instruments
|
|
|
- Peregrine Boyd
- 5 years ago
- Views:
Transcription
1 grain or instruments Robert Wannamaker 00
2 Notes Pitches are seciied in -tone equal teerament (equal thirds-o-a-semitone). An uwards arrow on an accidental ( ) raises its itch by /-semitone, while a downwards arrow lowers it by the same amount ( ). The itch structure addresses melodic inlection so, with the excetion o unisons and octaves, indeendent individual intonational accuracy is required more than the rehearsal o harmonic tuning between layers. All instruments should strictly avoid the use o vibrato excet where it is exlicitly seciied. The ensemble should aim throughout or a highly sensitive dynamic balance. Instrumentation lutes clarinets in Bb trombones (also lay maracas) violins violas violoncellos contrabasses ercussion, each corising the ollowing instruments (identical in itch and timbre) large bass drum woodblocks ( high, low) almglocken (written F, G, F#) crotale (written F) caxixi tam-tam (lays only twice) Tam-tam Perc Perc Tbn Cb Cb Tbn Cl Vc Vc Cl Fl Vla Vla Fl Vln Vln Conductor
3 Flute q=0 FLOW grain Robert Wannamaker Flute Clarinet in Bb Clarinet in Bb Trombone Trombone Percussion Tam-tam Percussion Violin MARACAS twirled similarly TROMBONE MARACAS twirled TROMBONE BASS DRUM (MID) BASS DRUM (RIM) BASS DRUM (RIM) small b. dr. beater; slightly reduce resonance, erhas by daening the head with the alm o the striking hand :e small b. dr. beater; slightly reduce resonance, erhas by daening the head with the alm o the striking hand BASS DRUM (MID) :e Violin Viola Viola Violoncello Violoncello Contrabass Contrabass no vibrato sul tasto increasingly sul ont to end o section no vibrato sul tasto increasingly sul ont to end o section tremolos are lighter, ast and at the ti Robert Wannamaker 00
4 Tbn. 8 MRCS. Tbn. MRCS. B.D. (MID) B.D. (RIM) similarly B.D. (MID) B.D. (RIM) Cb. Cb. tremolos are lighter, ast and at the ti Tbn. MRCS. Tbn. MRCS. B.D. (MID) B.D. (RIM) B.D. (MID) B.D. (RIM) Cb. cresc. sul ont, mid-bow Cb. cresc. sul ont, mid-bow
5 Fl. Fl. Cl. Cl. Tbn. Tbn. A ABORTED CATASTROPHE B.D. ast, smooth roll no vibrato no vibrato no vibrato no vibrato Note to conductor: The raid diminuendo should make the section seem "aborted". Teo changes may be necessary in order to achieve this eect. T.-t. l.v. B.D. ast, smooth roll Vln. Vla. Vla. Vc. Vc. Cb. Cb. ast trem. ast trem. ast trem. ast trem. ast trem. ast trem. increasingly sul ont increasingly sul ont increasingly sul ont increasingly sul ont increasingly sul ont increasingly sul ont increasingly sul ont increasingly sul ont
6 Fl. B VACUUM Fl. ALM. B.D. slowly bowed, just noise (no itch) Press wooden end o drumstick hard into head and trace large circles between rim and middle at a seed o about seconds er circuit. "Attack" by changing direction. T.-t. abrutly daen tam-tam at its center as thoroughly as ossible in one beat (aint high itches remain) ALM. slowly bowed, just noise (no itch) Press wooden end o drumstick hard into head and trace large circles between rim and middle at a seed o about seconds er circuit. "Attack" by changing direction. B.D. Vln. lightly touch string without deressing, utting several ingers down to daen harmonics bow lightly and slowly at end o ingerboard to roduce a aint, noisy tone lightly touch string without deressing, utting several ingers down to daen harmonics bow lightly and slowly at end o ingerboard to roduce a aint, noisy tone
7 9 ALM. B.D. ALM. B.D. Vln. similarly C SYNC Hard yarn mallets. Avoid accentuation and metrical ehasis. Following each rest, begin striking the block in a dierent (L-R) location to achieve a subtly dierent timbre. W.BL. (LO) 9 9 B.D. (RIM) sot tiani mallet W.BL. (LO) B.D. (RIM) Hard yarn mallets. Avoid accentuation and metrical ehasis. Following each rest, begin striking the block in a dierent (L-R) location to achieve a subtly dierent timbre. sot tiani mallet W.BL. (LO) 8 B.D. (RIM) W.BL. (LO) 0 B.D. (RIM) 0
8 W.B. (LO) 0 B.D. (RIM) W.B. (LO) B.D. (RIM) 9 W.BL. (LO) W.BL. (LO) W.BL. (LO) W.BL. (LO) 0 0 W.BL. (LO)
9 Vla. Vla. Vc. D MICRO-COUNTERPOINT 9 mute,, smoothly, no vibrato, do not adjust intonation between articulations, one bowstroke er note (but not tentative) izz (with the nail) mute,, smoothly, no vibrato, do not adjust intonation between articulations, one bowstroke er note (but not tentative) mute,, smoothly, no vibrato, do not adjust intonation between articulations, one bowstroke er note (but not tentative) Vc. mute,, smoothly, no vibrato, do not adjust intonation between articulations, one bowstroke er note (but not tentative) Cb. izz
10 8 Fl. 8 very breathy Fl. very breathy Cl. very breathy Cl. very breathy Tbn. Tbn. (but decisive) (but decisive) Vln. izz (with the nail) col leg (at the ti) col leg arco, mute arco, mute Vla. Vla. Vc. Vc. Cb. izz izz Cb. col leg
11 9 Fl. Fl. Cl. Cl. Tbn. Tbn. less breathy, ten. less breathy, ten. less breathy, ten. less breathy, ten. not breathy, ten. not breathy, ten. not breathy, ten. not breathy, ten. Vln. Vla. Vla. Vc. Vc. Cb. izz Cb. izz
12 0 E FRICTION Tbn. ATTACKS cu mute PITCH sz slow gliss. sz sz sz sz sz Tbn. ATTACKS cu mute sz PITCH sz sz slow gliss. sz sz sz Vln. ALM. hard cord mallet, always l.v. ALM. hard cord mallet, always l.v. Vla. Vla. Vc. Vc. Cb. ATTACKS PITCH sz sz arco, sul ont, heavy (match trombone timbre) slow gliss. sz similarly Cb. ATTACKS sz sz PITCH arco, sul ont, heavy (match trombone timbre) sz slow gliss. similarly
13 sz Tbn. cresc. sz sz sz Tbn. cresc. CROT. hard lastic mallets, ast unmeasured roll as ast as ossible l.v., but daen abrutly at end o measure ALM. CROT. hard lastic mallets, ast unmeasured roll as ast as ossible l.v., but daen abrutly at end o measure ALM. Cb. cresc. Cb. cresc.
14 Fl. 8 F FLUTTER Fl. Cl. Cl. Tbn. no mute Tbn. no mute Vln. Vla. Vla. Vc. Vc. Cb. Cb. B.D. B.D. smooth smooth no mute no mute no mute no mute no mute no mute
15 G CHIME Conductor: in this section diminuendos should be very raid, like that o a struck bell (almost orte-iano). Fl. Fl. 90 Cl. Cl. W. BL. (LO) B. D. in middle o head, daened with alm hard cord mallet W. BL. (LO) B. D. in middle o head, daened with alm hard cord mallet Vc. Vc. sul tasto sul tasto
16 Fl. 9 Fl. Cl. Cl. Tbn. Tbn. Vln. W. BL. (HI) B. D. W. BL. (HI) B. D. sul tasto hal sul ont near rim, not daened near rim, not daened sul tasto hal sul ont Vla. sul tasto hal sul ont Vla. sul tasto hal sul ont Vc. sul tasto hal sul ont Vc. sul tasto hal sul ont Cb. sul tasto hal sul ont Cb. sul tasto hal sul ont
17 Vla. Vla. Cb. Cb. 00 H MOBILE cresc/dim are linear (not exonential) in loudness cresc/dim are linear (not exonential) in loudness cresc/dim are linear (not exonential) in loudness similarly cresc/dim are linear (not exonential) in loudness similarly similarly Vla. 0 Vla. Cb. similarly Cb.
18 Vla. W. BL. (HI) W. BL. (HI) wood mallet wood mallet Vla. Vc. Vc. Cb. Cb. 0 W. BL. (HI) Vla. W. BL. (HI) Vla. Vc. Vc. Cb. similarly similarly Cb.
19 Fl. italics indicate doublings vln vln vln Fl. italics indicate doublings vln vln Cl. italics indicate doublings vc vc Cl. italics indicate doublings vc vc Vln. italics indicate doublings l l similarly l italics indicate doublings l l similarly Vla. Vla. Vc. italics indicate doublings clar similarly clar Vc. italics indicate doublings clar clar similarly Cb.
20 8 Fl. Fl. Cl. Cl. vc ALM. ALM. sot yarn mallet l.v. sot yarn mallet l.v. Vln. sul tasto sul tasto Vc. sul tasto Vc. sul tasto clar
21 9 Fl. Fl. Cl. Cl. ALM. l.v. ALM. l.v. Vln. Vc. Vc., dark tone tune recisely to vc
22 0 I CONCENTRATION Fl. Fl. Cl. Cl. (not audible, but creates beating) ossibile (not audible, but creates beating) ossibile Vla. Vla. Vc. Vc., dark tone Cb. Cb.
23 Fl. Fl. Cl. (but decisive) Cl. (but decisive) Vln. sul D, sul tasto sul D, > sul D, sul tasto sul D, > Vla. > hal ont > > Vla. > hal ont > > Vc. brighter tone > hal ont > Vc. brighter tone > hal ont > Cb. Cb.
24 Fl. ossibile Fl. ossibile Cl. Cl. Tbn. brassy Tbn. brassy Vln. ont > () > sul ont ont > () > sul ont Vla. ont > sul ont Vla. ont > sul ont Vc. sul ont Vc. sul ont Cb. Cb.
25 J COINCIDENCE DETECTOR q. = q (q=0) 0 W.BL. (HI) Otional visual cues are rovided in italics. W.BL. (HI) wooden mallet rom vln wooden mallet to vln & vc Vln. izz (with the nail), sul E to vc vc to izz (with the nail), sul E to erc rom erc Vc. col leg (always l.v.) Vc. col leg (always l.v.) rom vln rom erc rom vln W.BL. (HI) to vln W.BL. (HI) Vln. to vln rom erc rom vln Vla. Vc. to vc (balzandos: with bowhair, no sound o bow wood or ingerboard, - bounces each at roughly trilet th-note teo then tacit) balz... Vc. rom vc
26 80 W.BL. (HI) W.BL. (HI) to vc & cb Vln. izz. izz. to vla balz... to vla balz... to vla Vla. balz... balz... rom vln Vla. balz... rom vc balz... rom vln balz... rom vln Vc. balz... to vla & cb balz... rom erc balz... to cb Vc. balz... balz... to cb Cb. col leg col leg rom erc col leg rom vc Cb. col leg rom vc col leg rom vc
27 8 W.BL. (HI) W.BL. (HI) rom vc Vln. balz... to vla izz. to vln, vla & vla izz. to vla balz... rom vln Vla. balz... rom vln rom vln balz... Vla. balz... rom vln balz... rom vln Vc. balz... to cb balz... to vc, cb, cb & erc balz... Vc. balz... to cb balz... to cb balz... rom vc Cb. col leg rom vc col leg rom vc Cb. col leg rom vc col leg rom vc col leg rom vc balz...
28 Conductor: There are two ways to conduct this section. The irst and reerred way is to kee the beat in the right hand while marking a setulet olyrhythm against it using the let hand, sulying a big downbeat with both hands rather than using atterns. The other way is to conduct only the beat and to instruct the layers with setulets to lay slightly aster than the other winds so as to "hase" against them, observing the dynamic hairins at the indicated times. Conductor RH LH Fl. Fl. Cl. Cl. 8 K hard yarn mallet, light, steady roll, rhythmically autonomous, background to winds teo very slowly varying between ths and trilet-ths W.BL. (HI) TRILLS PHASING slightly aster (q=0) W.BL. (HI) Trills in strict measured rhythm: the trilled itches are indicated just once at the beginning o each trill. :q The conductor beats : with the LEFT hand. :q :q :q hard yarn mallet, light, steady roll, rhythmically autonomous, background to winds teo very slowly varying between ths and trilet-ths
29 Cond. RH LH Fl. Fl. Cl. Cl. 88 :q The conductor beats : with the LEFT hand. :q :q :q :q The conductor beats : with the LEFT hand. :q :q :q Cond. RH LH Fl. Fl. Cl. Cl. 90 :q :q :q :q :q :q
30 8 Cond. RH LH Fl. Fl. 9 :q :q :q :q Cl. Cl. :q :q
31 9 Cond. RH LH Fl. Fl. Cl. Cl. 9 :q :q :q :q :q :q Tbn. Tbn. decisive decisive
32 0 Cond. RH LH 9 :q :q Fl. :q :q Fl. Cl. Cl. Tbn. :q ten. :q Tbn. ten. Vln. arco sul ont raid vibrato extreme sul ont raid vibrato raid vibrato arco sul ont extreme sul ont raid vibrato Vla. Vla. arco raid vibrato
33 Cond. RH LH 98 :q :q Fl. :q gradual transition to breath tone > :q Fl. gradual transition to breath tone > Cl. gradual transition to breath tone > Cl. 0 gradual transition to breath tone > :q :q Tbn. Tbn. VI VI breath noise only (VI), draw breath as needed but don't ehasize entrances Vln. diminishing vibrato diminishing vibrato Vla. arco raid vibrato increasingly sul ont diminishing vibrato Vla. increasingly sul ont diminishing vibrato
34 Cond. RH LH Fl. 00 just breath :q noise, draw breath as needed but don't ehasize entrances :q (rhythmic strictness is now somewhat relaxed) :q :q Fl. Cl. Cl. just breath noise, draw breath as needed but don't ehasize entrances (rhythmic strictness is now somewhat relaxed) just breath noise, draw breath as needed but don't ehasize entrances (rhythmic strictness is now somewhat relaxed) just breath noise, draw breath as needed but don't ehasize entrances (rhythmic strictness is now somewhat relaxed) :q :q Tbn. Tbn. Vln. breath noise only (VI), draw breath as needed but don't ehasize entrances extreme sul ont (mostly noise) extreme sul ont (mostly noise) Vla. extreme sul ont (mostly noise) Vla. extreme sul ont (mostly noise) Vc. arco, on side o bridge (no tone, just noise) Vc. arco, on side o bridge (no tone, just noise) Cb. arco, on side o bridge (no tone, just noise) Cb. arco, on side o bridge (no tone, just noise)
35 Cond. RH LH Fl. Fl. 0 :q :q :q :q Cl. Cl. Tbn. :q :q Tbn. Vln. Vla. Vla. Vc. Vc. Cb. Cb.
36 RH LH 0 Fl. Cl. Tbn. Tbn. Vln. Vla. Vla. Vc. Vc. Cb. Cb.
37 L ERASED (distant sounds) Teo rimo, q=0 Staccato. Hold uside down and excite using a quick dro o the hand. Avoid accentuation. 0 CAXIXI :h :e B.D. (MID) :q :q :q sot tiani mallet in center o head, well-daened with alm. Avoid accentuation. :q :q :q CAXIXI Staccato. Hold uside down and excite using a quick dro o the hand. B.D. (MID) :h :h sot tiani mallet in center o head, well-daened with alm. Avoid accentuation. :q CAXIXI B.D. (MID) :h :h :q :q :q :q CAXIXI B.D. (MID) :q :q :q :h :h 8 CAXIXI B.D. (MID) :q :q :q :q :h :q :q CAXIXI B.D. (MID) :h :h :q :q
38 M CHORALE A bit slower, q=0 B.D. (RIM) b. dr. mallet smooth B.D. (RIM) b. dr. mallet smooth Vln. Vla. Vla. Vc. Vc. Cb. Cb., ree bowing, smoothly, no vibrato, ree bowing, smoothly, no vibrato, sul A, ree bowing, smoothly, no vibrato, sul A, ree bowing, smoothly, no vibrato, ree bowing, smoothly, no vibrato, ree bowing, smoothly, no vibrato, ree bowing, smoothly, no vibrato, ree bowing, smoothly, no vibrato
39 Vln. 0 B.D. (RIM) Vla. Vla. Vc. Vc. Cb. Cb.
40 8 Fl. no vibrato, all winds have same itch Fl. Cl. no vibrato, all winds have same itch Cl. no vibrato, all winds have same itch Vln. cresc. cresc. Vla. cresc. Vla. cresc. Vc. cresc. Vc. cresc. Cb. cresc. Cb. cresc.
41 9 Fl. 8 cresc. oco a oco Fl. no vibrato, all winds have same itch cresc. oco a oco Cl. cresc. oco a oco Cl. cresc. oco a oco B.D. (RIM) B.D. (RIM) Vln. Vla. Vla. Vc. Vc. Cb. Cb.
42 0 Fl. Fl. Cl. Cl. Tbn. blend with strings, de-ehasize attacks Tbn. blend with strings, de-ehasize attacks Vln. Vla. Vla. Vc. Vc. Cb. Cb.
43 Fl. Fl. Cl. Cl. Tbn. Tbn. Vln. cresc. cresc. B.D. (MID) B.D. (RIM) B.D. (MID) B.D. (RIM) cresc. cresc. Vla. cresc. Vla. cresc. Vc. Vc. Cb. cresc. cresc. cresc. Cb. cresc.
44 Fl. Fl. Cl. Cl. Tbn. Tbn. (blend with strings) (blend with strings) Vln. Vla. Vla. B.D. (MID) B.D. (RIM) B.D. (MID) B.D. (RIM) thunderous thunderous Vc. Vc. Cb. Cb.
45 Fl. 0 Fl. Cl. Cl. Tbn. Tbn. Vln. B.D. (MID) B.D. (RIM) B.D. (MID) B.D. (RIM) Vla. Vla. Vc. Vc. Cb. Cb.
46 Fl. Fl. Cl. Cl. Tbn. Tbn. B.D. (MID) B.D. (RIM) B.D. (MID) B.D. (RIM) Vln. Vla. Vla. Vc. Vc. Cb. Cb.
47 Fl. N DURATION Fl. Cl. Cl. Tbn. Tbn. B.D. (RIM) T.-t. gradually daen Vln. Vla. Vla. Vc. Vc. B.D. (RIM) very sul ont s very sul ont s very sul ont s very sul ont s very sul ont s very sul ont s Cb. Cb. very sul ont s very sul ont s
48 Fl. O LIMIT Teo rimo, q=0 whistle tone (deliberately eeble) Fl. whistle tone (deliberately eeble) Cl. tune to almglocken Cl. tune to almglocken ALM. ALM. sot yarn mallet l.v. sot yarn mallet l.v.
49 Fl. P FRAYED 8 ten. Fl. ten. Cl. ten. Cl. ten. Tbn. ten. Tbn. ten. Vln. sul tasto sul tasto ten. sul tasto sul tasto ten. Vla. ten. Vla. ten. Vc. ten. Vc. ten.
50 8 Q UNTITLED hard lastic mallet CROT. l.v. B.D. (RIM) hard lastic mallet CROT. l.v. B.D. (RIM) sot b. dr. mallet sot b. dr. mallet
51 9 Cl. 9 just breath, no tone, hissing o moisture inside instrument ten. Cl. just breath, no tone, hissing o moisture inside instrument ten. Tbn. cu mute ten. Tbn. cu mute ten. B.D. (RIM) B.D. (RIM) Vln. lightly touch string without deressing, utting several ingers down to daen harmonics bow lightly and slowly at end o ingerboard to roduce a aint, noisy tone ten. lightly touch string without deressing, utting several ingers down to daen harmonics bow lightly and slowly at end o ingerboard to roduce a aint, noisy tone ten. Cb. mute, sul tasto ten. Cb. mute, sult tasto ten.
Other world, which noone. For string quartet
Other world which noone owns For string quartet Ste Conner 1 Ste Conner Other world which no-one owns 1 revised 11 For string quartet Work-shoed and erormed by the Kreutzer Quartet in June 7 at the University
SCORE. Nicholas DEYOE. wir aber sind schon anders. percussion quartet
SCORE Nicholas DEYOE wir aber sind schon anders ercussion quartet 2009 commande du estival USNESONORE our Julien Annoni Nicholas Deyoe all rights reserved www.nicholasdeyoe.com nicholasdeyoe@gmail.com
fragile connections for violin, french horn and piano
Hans Tutschku ragile connections or violin, rench horn and iano Score in C 2 Playing techniques and rearations ive itches damed with two sot erasers or other rubber material Piano cut a sot eraser into
Richard Barrett. news from nowhere wind players, 1 percussionist and (optional) drone instruments. performing score
Richard Barrett news rom nowhere 0 wind layers, ist and (otional) drone instruments erorming score (0) a comonent o ONSTRUTION (resistance & vision art ), commissioned by Liverool ultural aital 00. Duration
Haute tension for Piano and Percussion
alingherman Haute tension or Piano and Percussion duration : ca. 6 0 2008 Some rights reserved. version 1 (Jan. 2009) Instrumentation & Accessories or the PIANIST - a lexible lastic comb (see hoto is Note)
Reckless. Eight Percussionists. Dave Hollinden
Score Reckless Eight Percussionists Dave Hollinden Commissioned by Philli J. Mikula and the Victoria Memorial H.S. Percussion Ensemble or remier erormance at P.A.S.I.C. 00 Aroximate duration: minutes Instrumentation
By Steve Hearn. Description and Selection. Triangle Technique. Grace Notes. Fast Rhythmic Passages (legato) (articulate)
Accessory Percussion Techniques By Steve Hearn TRIANGLES Description and Selection Triangles range in size between 4-12 inches. The average triangles measure 6-9 inches. For a thinner, brighter sound,
Stringwizard. Guitar solos. Andrew Forrest. Guitar SolosbyAndrew Forrest
Guitar SolosbyAndrew Forrest Stringwizard Guitar solos by Andrew Forrest Contents Berceuse Tanz Lament The Flight o the Bouncing Bee Falcon Soaring 6 Cider Dance 7 Vals 8 Night Train Two Dinosaurs Berceuse
Part I. Notation Guide Xsample AI Library Xsample, professional sound libraries
Notation Guide Xsample AI Library Part I 2015 Xsample, professional sound libraries Table of contents Keywords, SoundID's and functions for Finale and Sibelius Woodwinds Brass Timpani Percussion Mallets
For Strings and Hammers
1 4 Joonas Pohjonen For Strings and Hammers iano (our hands) 010 / 01 Coyright by the Comoser All Rights Reserved No art o this ublication may be coied or reroduced in any orm or by any means without the
S A M P L E. the devil you know (vs. the devil you don t) for contrabass and computer. Brad Decker
20 www.braddecker.org rogram note: This iece became a symbol o the struggle we all ace between the known and the unknown, the things we can control and things we cannot. t arose out o a olitical disute
Noah Kahrs. Two Counterpoints. for piano quartet
Noah Kahrs Two Counteroints or iano quartet Tuning nstructions 1. The ollowing strings should be tuned ordinarily: Violin: D,G Viola: A,D,G Cello: A,D,G 2. Tune the viola C string to sound exactly three
5 th Grade Orchestra Curriculum Map
5 th Grade Orchestra Curriculum Map Music Reading: Student can read and perform the following notes: o Violin G string: G, A, Bb, B, C, C#, D D string: D, Eb, E, F, F#, G, G#, A A string: A, Bb, C, C#,
Introduction Starters That Guy Next to Me Bucket Rock blue muffin Tuesday Intermediate...
Contents CD Track Introduction... 3 Instruments...3 Imlements...5 Movements...6 Starters... 6 That Guy Next to Me...1...6 Bucket ock 101...2...9 blue muin Tuesday...3...15 Intermediate... 18 Strange Asaragus...4...18
Journey. University of Arkansas, Fayetteville. Darren Alan Rainey University of Arkansas, Fayetteville. Theses and Dissertations
University of Arkansas, Fayetteville ScholarWorks@UARK Theses and Dissertations 5-201 ourney Darren Alan Rainey University of Arkansas, Fayetteville Follo this and additional orks at: htt:scholarorksuarkeduetd
GARRITAN INSTANT ORCHESTRA INSTRUMENTS
INSTRUMENTS AND COMBINATIONS: BRASS INSTRUMENTS Big Brass Aggressive, Big Brass Aggressive Octave, Bones Attack, Easy Brass Chords Sustain, Easy Brass Short, Easy Brass Soft Sustain, Full Brass Octaves,
Three Meditations on the Philosophy of Boethius. Performance Instructions. Gil Dori
Three Meditations on the Philosohy of Boethius Performance Instructions by Gil Dori A Thesis Presented in Partial Fulfillment of the Requirements for the Degree Master of Music Aroved Aril 201 by the Graduate
Messer Engel Atem Kling
Messer Engel Atem Kling (2011) or string trio Martin Grütter Dauer: ca. Minuten Autragswerk der Fondazione Donizetti / Bergamo Musica Festival Annotations Listen to Turtle Island String Quartet. Listen
Pretty Polly. A Setting of an Olde English Murder Ballad for Solo Double Bass/Untrained Voice (Single Performer) and Live-Processed Video
Pretty Polly ~ A Setting o an Olde English Murder Ballad or Solo Double Bass/Untrained (Single Perormer) and LiveProcessed Video by Jackson Volman 2008 Pretty Polly (British/American/Traditional c. Britain
Dept. of Computer Science, University of Copenhagen Universitetsparken 1, Dk-2100 Copenhagen Ø, Denmark
NORDIC ACOUSTICAL MEETING 12-14 JUNE 1996 HELSINKI THE CONTROL MECHANISM OF THE VIOLIN. Dept. of Computer Science, University of Copenhagen Universitetsparken 1, Dk-2100 Copenhagen Ø, Denmark krist@diku.dk
- 12 Miniatures - Eric Skytterholm Egan 2007/2009. for Amplified Classical Guitar Minutter. Classical Guitar
- 1 Miniatures - or Aliied Classical Guitar / Classical Guitar Eric Skytterholm Egan 1-14 Minutter Perormance Notes: Slightly anticipated. Chords: Plucked simultaniously. Broken normally. Attaccs: Pull-o
Jesus, Prince of Peace includes Away in a Manger and Angels We Have Heard on High
30/312MD Comanion to 10/512MD ull Score l, (sub Sax/Cl), 2 Cl, erc, Har,, 2 Vln, Vla,, Vla (sub Cl), /Bsn, Bass Cl (sub /Bsn), String Reduction esus, rince of eace includes way in a Manger and ngels We
Uriah W. Rinzel. Orca. for viola and chamber ensemble
Uriah W Rinzel Orca or viola and chamer ensemle Uriah W Rinzel Orca or viola and chamer ensemle Commissioned y Nadia Sirota and SYZYGY Instrumentation: Virahone Electric Running time arox 9' Contact the
Asphodel. Viola. Nick DiBerardino
Asphodel Viola Nick DiBerardino Musical Notation: Harmonic Glissandi The typical representation of harmonic glissandi in this work is as follows: No pitches except the starting and ending pitch need be
As performed by The Cars Moving in Stereo. Preview Only. Words and Music by RIC OCASEK and GREG HAWKES Arranged by ERIC GORFAIN INSTRUMENTATION
NTERMEDATE STRNG ORCHESTRA Grade 3½ As erormed by The Cars Moving in Stereo Words and Music by RC OCASEK and GREG HAWKES Arranged by ERC GORAN NSTRUMENTATON 1 Conductor 8 1st Violin 8 2nd Violin 5 Viola
sumtone michael edwards don t flinch
sumtone : michael edwards don t linch or acoustic-electric guitar and couter michael edwards don t linch or acoustic-electric guitar and couter michael edwards don t linch acoustic-electric guitar and
Timpani Set Up
Timpani Timpani Overview May be spelled Tympani in some literature Also known as Kettle Drums German Pauken French Timbales Italian Timpani An established orchestral instrument since 17 th Century. First
West Michigan Homeschool Fine Arts Solo and Ensemble Festival Instrumental Honors Track:
Instrumental Honors Track: All senior high school instrumental soloists (9 th,10 th, 11 th, 12 th grade) choosing the Honors Track must perform the Proficiency Examination Section. Proficiencies I - IV
Audition Requirements
Southwest Florida Symphony Youth Orchestra Program Audition Requirements 2016-2017 Auditions by Appointment To reserve an audition time Please contact Todd Betz Education Director/Youth Orchestra Manager
WMHFA Solo and Ensemble Festival
Honors Track - Information and Rules Entrance Requirements Purpose: To select the best performers for Honors Ensemble Concert to Perform in May under the direction of a college or professional conductor.
Notre Dame College Marching Band Woodwind Technique Book. Flute
Notre Dame College Marching Band Woodwind Technique Book Flute Table of Contents Information and Explanations-------------------------------------------------- pg. 1-2 Singing -----------------------------------------------------------------------
Physics Homework 5 Fall 2015
1) Which of the following (along with its Indonesian relative, the gamelan) generally have a domed central area, thick metal, and a general pitch center? 1) A) gong, B) tam-tam, C) cymbals, D) bells, E)
Physics Homework 5 Fall 2015
1) Which of the following can be obtained by sprinkling salt or sand onto a thin, regularly shaped metal plate that is excited into vibration by drawing a violin bow across one edge or by some other, usually
Orchestral Strings Bundle, Articulation Guide
1 of 6 Orchestral Strings Bundle, Articulation Guide Violins Orchestra with vibrato without vibrato with vibrato with vibrato Medium crescendo and diminuendo with vibrato (1.5 and 3 sec.) Strong crescendo
Contents. Articulations 10 Sustain Samples 11 Effects 12 Previews 15
Contents MPC Orchestral Pro Edition: Introduction 3 Install: MPC Software Expansion Browser 4 Install: MPC Live & MPC X 4 MPC Expansion: What s Inside? 9 Articulations 10 Sustain Samples 11 Effects 12
SOLO and ENSEMBLE PROFICIENCY SCALES WIND and MELODY PERCUSSION INSTRUMENTS These scales are not listed in concert pitch.
SOLO and ENSEMBLE PROFICIENCY SCALES WIND and MELODY PERCUSSION INSTRUMENTS These scales are not listed in concert pitch. Required Scale Rhythm: Chromatic: Even Rhythm Such as even eighth notes or triplets
SYMPHOBIA 2 ARTICULATION LIST
INSTRUMENTS SYMPHOBIA 2 consists of five banks and one Multis folder. Each bank contains individual Instruments that hold various articulations and performances, offered as keys-switches. Below is a complete
MUSIC THEORY GLOSSARY
MUSIC THEORY GLOSSARY Accelerando Is a term used for gradually accelerating or getting faster as you play a piece of music. Allegro Is a term used to describe a tempo that is at a lively speed. Andante
From the signal. Iowa Research Online. University of Iowa. Christine Burke University of Iowa. Theses and Dissertations.
University of owa owa Research Online Theses and Dissertations Spring 2017 From the signal Christine Burke University of owa Copyright 2017 Christine Burke This thesis is available at owa Research Online:
INSTRUMENTS OF THE ORCHESTRA
https://www.sfponline.org/uploads/271/instruments%20of%20the%20orchestra.pdf INSTRUMENTS OF THE ORCHESTRA String Family Violin The violin is the smallest of the string family. It has 4 strings and is played
MULTIPLE CHOICE. Choose the one alternative that best completes the statement or answers the question.
MULTIPLE CHOICE. Choose the one alternative that best completes the statement or answers the question. 1) Because considerable force could be transmitted with the hammer action on pianos, its strings needed
The 6 Concepts of Music
DURATION how long something lasts. The 6 Concepts of Music Beat the underlying pulse Rhythm a specific grouping of note values long and short Ostinato pattern short repetitive pattern Regular rhythm a
Ming Tsao. Plus Minus. Litolff / Peters
Ming Tsao lus Minus Litol / etes lus Minus was commissioned by ascolta with the hel o an Enst von Siemens gant lus Minus is a ull ealization o Stockhausen s lus Minus (9) All seven symbol ages ae ealized
YAMAHA. Modifying Preset Voices. IlU FD/D SUPPLEMENTAL BOOKLET DIGITAL PROGRAMMABLE ALGORITHM SYNTHESIZER
YAMAHA Modifying Preset Voices I IlU FD/D DIGITAL PROGRAMMABLE ALGORITHM SYNTHESIZER SUPPLEMENTAL BOOKLET Welcome --- This is the first in a series of Supplemental Booklets designed to provide a practical
Only Sound Remains. Full Score. Soosan Lolavar
Only Sound Remains Full Score Soosan Lolavar iii Only Sound Remains was produced as part o the Stay Close project 2013/14. It was supported by Arts Council England, Jerwood Charitable Foundation and Iran
Copyright 2009 Pearson Education, Inc.
Chapter 16 Sound 16-1 Characteristics of Sound Sound can travel through h any kind of matter, but not through a vacuum. The speed of sound is different in different materials; in general, it is slowest
Viola Time Book 2. RGP (Release, Glide and Press) Shifting Method 2. When you see this picture, you should ask your teacher to explain and help you!
nd dition Viola Time ook When you see this picture, you should ask your teacher to explain and help you! RP (Release, lide and Press) Shifting Method st inger shifting without accidentals xercise : st-
II V I. for solo or two electric guitars. Larry Polansky. for Brian McLaren and Carter Scholz
for solo or two electric guitars for two electric guitars GUITAR I D F E (1st string) C B Bb G# G G D C# C A A Bb D G C (6th string) GUITAR II Eb Eb E (1st string) Bb B B F# F F# D D D A G G D D E (6th
Three Movements for Guitar Trio. Michael Lukaszuk
Three Movements or Guitar Trio Michael Lukaszuk I Thorns II Giuliani III Canto This work was written seciically or the Interaces roect, hosted by The Euroean University Cyrus. The comositional rocess was
GREEN LIGHT SENSATIONS
GREEN LIGHT SENSATIONS Starting from the original 8-bit samples of a Fairlight CMI IIx and using the powerful engine of the "TAL-Sampler" (https://www.tal-software.com/products/tal-sampler) a very wide,
PHYSICS 107 LAB #12: PERCUSSION PT 2
Section: Monday / Tuesday (circle one) Name: Partners: PHYSICS 07 LAB #: PERCUSSION PT Equipment: unction generator, banana wires, PASCO oscillator, vibration bars, tuning ork, tuned & un-tuned marimba
Carl Holmquist Our Reply Commissioned by the East Stroudsburg, PA High School Band Kanye Clogg, Director Grade Carl Holmquist
Carl Holmquist Our Rely Commissioned y the East Stroudsurg, PA High School Band Kanye Clogg, Director Grade + 016 Carl Holmquist! This work is insired y the amous statement rom Leonard Bernstein, "This
Theme from Requiem for a Dream
Theme rom Requiem or a Dream recoosed or cello octet (2016) score clint mansell arr james barralet Eic Music Publishing Theme%rom%Requiem%For%a%Dream% arranged'or'cello'octet'by'james'barralet' ' An'arrangement'o'the'very'oular'sound'track'to'the'ilm'Requiem'For'A'Dream'This'
Colliding Worlds. Patchlist & Additional Information. VST Sound Instrument Set. September 2015 Steinberg Media Technologies GmbH
Colliding Worlds VST Sound Instrument Set Patchlist & Additional Information September 2015 Steinberg Media Technologies GmbH Credit notice: Steinberg, Groove Agent, ASIO and VST are registered trademarks
The University of Texas String Project Promotional Guidelines (Revised: ) Pre Ensemble B
The University of Texas String Project Promotional Guidelines (Revised: 10.22.16) Pre Ensemble B Plays consistently with good posture. See Position Checklist. When using left hand - places the fingers
What/when do we want to assess???
What/when do we want to assess??? First Year Orchestra 4. Pizzicato 5. Bowing a. Bow hold b. Bow Control 6. Bowing Style a. staccato and legato 7. Reading: a. D to D octave; b. Clef; c. Time d. key e.
ESSENTIAL TECHNIQUES - -
THE GUINNESS 500 - Techniques & Glossary A Bebop Blues in F for 500 Harps - Premiere at the World Harp Congress in Amsterdam - Summer 2008 Deborah Henson-Conant www.hipharp.com The Guinness 500 is swing
The University of Texas String Project Promotional Guidelines (current as of 2/26/2015) Pre Ensemble B
The University of Texas String Project Promotional Guidelines (current as of 2/26/2015) Pre Ensemble B Plays consistently with good posture. See When using left hand - places the fingers in tune and adjusts
Brighton Band Clarinet Guide
Brighton Band Clarinet Guide Assembly and Instrument Basics Be alert when opening and closing the instrument case. It is recommended to put an arrow on your case to show which side should face down. Always
O Zomer! Cassandra Miller for the Asko Ensemble 2007
O Zomer! Cassandra Miller for the Asko Ensemble 007 Performance Notes Preparation: The vibraphone and the crotales are to be prepared by taping a coin to each crotale and vibraphone bar used Scordatura:
Assessment Schedule 2014 Music: Demonstrate knowledge of conventions used in music scores (91094)
NCEA Level 1 Music (91094) 2014 page 1 of 7 Assessment Schedule 2014 Music: Demonstrate knowledge of conventions used in music scores (91094) Evidence Statement Question Sample Evidence ONE (a) (i) Dd
pick the gun up Eric Skytterholm Egan 17 Minutter in memoriam Malcom X Some times you have to pick the gun up, to put the Gun down.
ick the gu u i memoriam Malcom X Cotrabass Clariet i Bb Percussio - Drum Kit - Electric Guitar 17 Miutter Eric Skytterholm Ega 2017 Some times you have to ick the gu u, to ut the Gu dow. Malcom X Perormace
StringWERK. e-instruments lab GmbH Bremer Straße Hamburg Germany
e-instruments lab GmbH Bremer Straße 18 21073 Hamburg Germany www.e-instruments.com All information in this document is subject to change without notice and does not represent a commitment onthe part of
A Sound Only a Mother Could Love. developing a mature young band sound. Presented by Douglas Akey Midwest Clinic Saturday, December 22
A Sound Only a Mother Could Love developing a mature young band sound. Presented by Douglas Akey 2012 Midwest Clinic Saturday, December 22 Douglas Akey 893 East Sheffield Ave, Chandler, Arizona 85225-1473
Player s Guide. Contents. Imitations Flute...6 Cello...6 Horn...6 Harmonica...6 Energy Slide...6 Distortion Pick...6
Contents Introduction How the EBow Works...2 Opening Tips...2 Switch Positions...2 How to Hold the EBow...2 How to Position the EBow...2 Methods of Control String Activation...3 Gliding...3 Pressing...3
Accessories Handout from my presentation at the 1998 NYSSMA Winter Conference
Accessories Handout from my presentation at the 1998 NYSSMA Winter Conference How To Create An Outstanding Percussion Section In Your Band Or Orchestra In order to create an outstanding percussion section
Core Warm-Up (2017) Brad Edwards, Arizona State University Presentation for the 2017 International Trombone Festival Redlands, California
Core Warm-p (2017) Brad Edwards Arizona State niversity Presentation for the 2017 International Trombone Festival Redlands California Daily Routine = Core Warm-p + Four S s The Four S s: Sostenuto o Extra
I. Orchestra Scope Note Top term A. String Instruments Scope Note 1. Bowed String Instruments Scope Note a) Violin Scope Note b) Viola Scope Note
I. Orchestra Scope Note: An ensemble of instrumentalists composed of string, woodwind, brass, and percussion sections that typically plays classical music; often includes one or more keyboard instruments.
Primal Soup. Rich Perks
Primal Soup Rich Perks 1 ) \ *( \rtr \d{ i: - *tn\ I., a ut ht a';. \: I '"".-. rd,/ ""*,,t\,'\\ \."' -t *O8s*wrd{r*^**'.' @ 0 R Fi io H \-/ hol ru-4.,y.r.i,:t\r,r":i..,i:.1, I! i ' J( t ) 1 \ t\\ \)
Strategies for Teaching Strings Fourth Edition Companion Website. Video Content
Strategies for Teaching Strings Fourth Edition Companion Website Video Content CLIP CONTENT 1 Sizing the Violin 2 Sizing the Viola 3 Sizing the Cello 4 Sizing the Bass 5 Upper String Instrument Shoulder
Choosing your own song for Vocals Initial Grade 8
Choosing your own song for Vocals Initial 8 All techniques are cumulative but it is not expected that songs will contain everything in the list; this is intended to be a general guide to the type of techniques
Unohdan että unohdan
22 66 Sebastian Hilli Unohdan ett unohdan for mezzo-sorano and chamber ensemble (Harry Salmenniemi) 2011-2012 Coyright by the Comoser ll Rights Reserved No art of this ublication may be coied or reroduced
Conway Middle School Band Karate
Conway Middle School Band Karate The Karate belt system is used in martial arts training to mark the progress a student has made in their study. Similarly, display your proficiency on your instrument by
toovviivfor for four electric guitars for the Zwerm Guitar Quartet Larry Polansky
toovviivfor for four electric guitars for the Zwerm Guitar Quartet Larry Polansky GUITAR I D D E (1st string) A A A F# G G C B C ( C#) Ab Ab G# D D A (6th string) GUITAR II Eb E F (1st string) Bb B Bb
(THE EASTERN ROOM OF THE PALACE)
ANDREA CLEARFIELD RABSONG SHAR (THE EASTERN ROOM OF THE ALACE) sorano, electronics and chamber orchestra 2016 INSTRUMENTATION Sorano Solo Flute Oboe Bb Clarinet Bass Clarinet ercussion (3) Har iano Violin
String Orchestra Curriculum: grades 4-12 Bexley City Schools Revised
Ohio State Standards Abbreviations Key: HSC: Historical, Cultural and Social Contexts CED; Creative Expression and Communication VM/AR: Valuing Music/Aesthetic Reflection CRA: Connections, Relationships
L 23 Vibrations and Waves [3]
![L 23 Vibrations and Waves [3]](/thumbs/94/121079208.jpg "L 23 Vibrations and Waves [3]")
L 23 Vibrations and Waves [3] resonance clocks pendulum springs harmonic motion mechanical waves sound waves golden rule for waves musical instruments The Doppler effect Doppler radar radar guns Review
University of Texas String Project Promotional Guidelines
University of Texas String Project Promotional Guidelines Pre Ensemble B Plays consistently with good posture. See Position Checklist. Plays with consistently correct bow hold. When using left hand- places
Electric Guitar Foundation Level 1
Electric Guitar Foundation Level 1 & INSTRUMENT The student should adopt the correct playing position including, how to hold the instrument and place both hands in the correct position. The student should
VIRTUOSO ENSEMBLES. What is Virtuoso Ensembles?
VIRTUOSO ENSEMBLES What is Virtuoso Ensembles? Virtuoso Ensembles is an orchestral sample library that is designed primarily as a compositional and/or live performance tool, and works great for final mixing
Beginner Guitar Theory: The Essentials
Beginner Guitar Theory: The Essentials By: Kevin Depew For: RLG Members Beginner Guitar Theory - The Essentials Relax and Learn Guitar s theory of learning guitar: There are 2 sets of skills: Physical
REPLIKA SOUND GUITAR LIBRARY : BASS GUITAR v7 FEATURE GUIDE
REPLIKA SOUND GUITAR LIBRARY : BASS GUITAR v7 FEATURE GUIDE 1 TABLE OF CONTENTS Important (Requirements) 3 Library Size 3 Pack Contents 3 Main Interface 4 Articulation Key Switches 5 Articulation Descriptions
Notre Dame College Marching Band Woodwind Technique Book. Alto Sax
Notre Dame College Marching Band Woodwind Technique Book Alto Sax Table of Contents Information and Explanations-------------------------------------------------- pg. 1-2 Singing -----------------------------------------------------------------------
Jukka Tiensuu. Collateral. for String Trio
070 Jukka Tiensuu Collateral for String Trio 2018 Copyright by the Composer All Rights Reserved No part of this publication may be copied or reproduced in any form or by any means without the prior permission
Mexican Apple Soda Paraphrase (Consumer Affect Simulation I.1) Duo for Contrabass and Loudspeaker. Performance Instructions
Mexican Apple Soda Paraphrase (Consumer Affect Simulation I.1) Duo for Contrabass and Loudspeaker Performance Instructions Jeffrey Treviño, 2006 Mexican Apple Soda Paraphrase (Consumer Affect Simulation
Falcon Singles - Oud for Falcon
Falcon Singles - Oud for Falcon 2016 Simon Stockhausen Installation As there is no default location for 3rd party sound libraries for Falcon, you can just install the folder Oud which you extracted from
The Physics of Musical Instruments
Neville H. Fletcher Thomas D. Rossing The Physics of Musical Instruments Second Edition With 485 Illustrations Springer Contents Preface Preface to the First Edition v vii I. Vibrating Systems 1. Free
m p l e s a Drums, Cymbals, and Gongs CONCERT BASS DRUM UP FRONT - Section 1: Instruments of the Pit
mbut UP FRONT - Section 1: Instruments of the Pit Drums, Cymbals, and Gongs Now that weʼve discussed keyboards and timpani, it is time to move on to the nonpitched essentials of the pit: drums, cymbals,
POEMS FOR ANGUS. I Triple Burden. Stuart MacRae, Norman MacCaig. Energico = ca Energico = ca I know I. quasi eco.
Norman MacCaig Energico = ca.10-120 POEMS FOR ANGUS I Triple Burden Stuart MacRae, 2009 Voice I know I had my death Violin Viola Violoncello Contrabass Energico = ca.10-120 Piano quasi eco 6 molto in me
by Chris Crockarell & Chris Brooks A Collection of 4 Ensembles for 5 Gallon Plastic Buckets Grades I & II / 2 parts
last-o rom row-lo Percussion Series or Grades I & 2 ucket Worx by Chris Crockarell & Chris rooks Collection o Ensembles or 5 Gallon Plastic uckets Grades I & II / 2 arts Plastik Surgery 5 Gallon Plastic
Drum Score / Instruction
Drum Score / Instruction DTX 402 SERIES How to Play with Songs Introduction There are many different musical genres and rhythm styles throughout the world. We have selected ten songs for the DTX 402 Series
. w. œ œ œ œ. œ œ œ. Five Finger Exercise. Focused Firm Fingertips
CONTENTS CONTENTS Focused Firm Fingertips Five Finger Exercise Supported Hand Position Warm-Up Patterns in C Maor6 C Maor Scales in Progressive Rhythms 6 Root Position Triads 7 Broken Chord Patterns 7
80s Style Rock Rhythm
8s Style Rock Rhythm Steve Stine Minutes to Midnight by Iron Maiden q = Ó j j j j j Œ Ó / 3 Live Wire by Mötley Crüe q = Œ j ÍÍÍÍ Œ Ó ÍÍÍ 8 Cat Scratch Fever by Ted Nugent q = # j P.M. j ÍÍÍÍÍÍ # # j j
Four Pieces. For Accordion and String Quartet. Aaron Gervais
Four Pieces For Accordio ad Strig Quartet Aaro Gervais Four Pieces For Accordio ad Strig Quartet Aaro Gervais November 200 Duratio: 20 miutes Dedicated to my gradmother Atoiette Schulte. Accordio Notatio:
MIDI SOUNDS SOUNDFONT GENERAL USER GS MUSESCORE VERSION 1.44
Página 1 MIDI 0 GENERAL MIDI (GM Standard): 000 Acoustic Grand Piano 001 Bright Acoustic Piano 002 Electric Grand Piano 003 Honky Tonk Piano 004 Tine Electric Piano 005 FM Piano 006 Harpsichord 007 Clavinet
Jamie Keesecker. Department of Music Duke University. Date: Approved: Stephen Jaffe, Supervisor. Scott Lindroth. Philip Rupprecht.
Into the ends o Time and Musical orces in azz: Grou Interaction and Douletime in My oolish Heart as erormed y the ill Evans Trio with Scott Laaro and aul Motian y amie Keesecker Deartment o Music Duke
WAVES BEATS: INTERFERENCE IN TIME
VISUAL PHYSICS ONLINE WAVES BEATS: INTERFERENCE IN TIME Beats is an example o the intererence o two waves in the time domain. Loud-sot-loud modulations o intensity are produced when waves o slightly dierent
Dept. of Computer Science, University of Copenhagen Universitetsparken 1, DK-2100 Copenhagen Ø, Denmark
NORDIC ACOUSTICAL MEETING 12-14 JUNE 1996 HELSINKI Dept. of Computer Science, University of Copenhagen Universitetsparken 1, DK-2100 Copenhagen Ø, Denmark krist@diku.dk 1 INTRODUCTION Acoustical instruments
By John Geraghty ISBN Copyright 2015 Green Olive Publications Ltd All Rights Reserved
By John Geraghty ISBN 978-0-9933558-0-6 Copyright 2015 Green Olive Publications Ltd All Rights Reserved Book One Manual and CD 1 Table of Contents Introduction... 1 Contents within the Course Part 1...
Review. Top view of ripples on a pond. The golden rule for waves. The golden rule for waves. L 23 Vibrations and Waves [3] ripples
![Review. Top view of ripples on a pond. The golden rule for waves. The golden rule for waves. L 23 Vibrations and Waves [3] ripples](/thumbs/87/96757996.jpg "Review. Top view of ripples on a pond. The golden rule for waves. The golden rule for waves. L 23 Vibrations and Waves [3] ripples")
L 23 Vibrations and Waves [3] resonance clocks pendulum springs harmonic motion mechanical waves sound waves golden rule for waves musical instruments The Doppler effect Doppler radar radar guns Review