Alexis Perepelycia Arranger, Composer, Director, Interpreter, Publisher, Teacher
|
|
|
- Gillian Lynch
- 5 years ago
- Views:
Transcription
1 Alexis Perepelycia Arranger, Composer, Director, Interpreter, Publisher, Teacher Argentina, Rosario About the artist Personal web: Associate: SADAIC About the piece Title: A trip to Tlön Composer: Alexis Perepelycia Arranger: Alexis Perepelycia Licence: Creative Commons Licence Publisher: Alexis Perepelycia Instrumentation: Cello solo Style: Contemporary Alexis Perepelycia on free-scores.com Contact the artist Write feedback comments Share your MP3 recording Web page access with QR Code : This work is not Public Domain. You must contact the artist for any use outside the private area. Prohibited distribution on other website. First added the : Last update : :58:18
2 Relative Time min : sec Violoncello 0' 00" pizz. sfffz vib. accell. A trip to Tlön Glissando and accelerando till sound disaears Implement a Metal or Hard Plastic Slider on Index Finger 5" Reverb - from distant to closer effect when the sound stops attack this chord again vib. accell. faster each time Sample Cello Attack various attacks Loop Playback Hi Pass Filtered Aleatoric Rhythm Keep Repeating and evolving 25" Random Fluted Sounds + Hi Pitched + No Notes + Airy Bow Noise over Strings Graphics on Score just for Reference in a freely way p Subtle DLY + Reverb to Signal p Gradually Hi Pass Filtered to Direct Signal p 50"
3 2 Random Noises Different Textures 0 1'10" Sample Playback + Press Chop Button Micro-granulated Sounds Increase Gradually the Choing Speed till get a Granulated Sound Dramatic Silence Wait for Signal. As Fast As Possible Random Notes on Relative Register poco rall. 1'45" Play Several Times f DLY & Hold Same articulation as previous Allways Gliss Ascending Play Several Times 2'10" Aleatoric Rhythm & Transpositions Loop Playback Hi Freq. Filtered Sound Keep Repeating and evolving 2'30" molto rall. Playback Gliss to Extremely Low Transposition Start Gradually Granulating Keep Lower Transposition
4 Hit the body of the Cello Each accent is to be followed by a small pause Accents w/ Right Hand (different sound than Left) I I D 3'00" 3 Sample Gradually Add Delay to Direct Signal Several Transpositions pizz. vib. accell. Silence Wait for Sounds Playback at Low Transposition Gliss 69hz vib. muy lento 3'30" Excesive Pressure on Bowing - Release Gradually on Large Values arco 4'10" Playback at Low Transposition f III corda p SlightlyDelay 2 Thicken Texture f III corda mp ff sul tasto Feedback Delay Time arco OH Bounces over Strings rall. poco a poco 4'40" 5'10" Thumb mutes II - III - IV strings Aleatoric Rhythm - Hi Pitch DLY + Reverb Sample Bounces Repeat Several Times 0
5 4 5'40" Dramatic Silence Playback from Low Transposition Gradually Glissando Granular Texture of Choed Sounds Start slowly and Gradually Accelerate 0 Tremoli = As Fast as Possible Note Change = As Slow As Possible 6'40" 0 Hi-Pass Filtering 2 Blend w/ Cello Sound 7'00" DLY Feedback Sound Overlaing Delay Time Excesive Pressure on Bowing Noise when reach the full dynamic q=70 7'15" II corda Small Pause DLY
6 Excesive Pressure on Bowing Noise when reach the full dynamic I corda G r a d u a l l y D e c r e a s i n g p Delay Time 7' 40" 5 8' 20" p Excesive Pressure on Bowing Noise when reach the full dynamic 3 3 Aleatoric Rhythm Thumb mutes II - III - IV strings 0 arco OH bounces over Strings Sample Bounces DLY Time Reverberation Repeat Several Times q=120 pizz. as loud as possible gliss. q=100 arco sul pont. sfz 9'05" Reverberation Playback at Lower Transportation p sfz sfz rall. Get As much Noise as Possible from Bowing Playback at Several Transpositions 8' 20"
7 6 Closer notes to G 10'10" Hi Pass Filter Lowest Transposition Possible very slowly sul pont p Hi Pass Filter p tr. presto gliss slow Subtle DLY increaces Sibilance from harmonics I IV Bow Underneath Strings Plays Strings1º y 4º Sampler ON DLY time Distant Reverb 11'10" Get Artificial Harmonics sul ponticello cres. molto 11'20" Filter ON change Sibilance from harmonics Randomly 11'40" p III fff fff ff left hand = hit the boby of the cello aleatoric rhythms 0 Sample + Playback Filter Sounds Randomly
8 7 12'10" DLY Time 12'20" q=60 III corda gliss. always Delay Time Repeat sequence several times, accelerating to the fastest possible, till reach the lowest note IV corda Playback w/ Granulator 12'50" I Delay Time Feedback Volumen D Hit body of Cello with Both Hands Development of rhythm figures 13'20" Wait till the Delay Stops!!
Alexis Perepelycia Arranger, Composer, Director, Interpreter, Publisher, Teacher
Alexis Perepelycia Arranger, Composer, Director, Interpreter, Publisher, Teacher Argentina, Rosario About the artist Personal web: Associate: www.alexisperepelycia.com.ar SADAIC About the piece Title:
Screaming Whispers For Violoncello, Percussion (Vibraphone and Marimba), and Piano
Anthony Cornicello Screaming Whispers For Violoncello, Percussion (Vibraphone and Marimba), and Piano Duration: 7 minutes 2000 (revised and corrected version, September, 2000) General Notes: 1. Unless
Sakura Variations. Vc. : all gliss. should sound prominent sul G. or sul D & gliss to D. sul G
Sakura Variations 2000 Version for Cello & Harpsichord Based on the composer s 1974 Version commissioned by Yuriko Ota for Cello & Two-Manual Harpsichord Sakura (Cherry Blossom) = 50 Lento delicato Cello
Performance Score. Jenny Jackson. [S]pan
![Performance Score. Jenny Jackson. [S]pan](/thumbs/88/115319093.jpg "Performance Score. Jenny Jackson. [S]pan")
Perormance Score Jenny Jackson [S]pan Jenny Jackson [S]pan [2015] or mixed ensemble Jenny Jackson [S]pan Instructions or perormance: There are separate parts or WOODWIND, BRASS & STRINGS All three parts
Signs and Italian Terms AMEB Theory Grades 1-4
How To Pass Signs and Italian Terms AMEB Theory Grades 1-4 Grade 1 Theory These are the Italian terms to learn for Grade 1. Adagio - slowly Andante - at an easy walking pace Moderato - at a moderate speed
Turtles All The Way Up 2017
rian Riordan All The Way p 2017 or violin, viola, cello, double bass, and electronics erormance Notes Scratch Tone:
Solo Trombone. Suuna. for Trombone and Orchestra
Solo Trombone Suuna for Trombone and Orchestra Jukka Tiensuu 2017 Solo Trombone S. 1 ~96 Suuna for Trombone and Orchestra 1. Ready Jukka Tiensuu 2017 11 17 22 27 4 42 50 vibr. Keep lips on playing position
Jukka Tiensuu. Tiet / Lots (2003) for flute or recorder, violin, viol or cello, and harpsichord
Harpsichord / Score Performance note Tiet / Lots (00) for flute or recorder violin viol or cello and harpsichord notation: for the recorder: if necessary to take a breath do it here. For all: stop exactly
Music theory B-examination 1
Music theory B-examination 1 1. Metre, rhythm 1.1. Accents in the bar 1.2. Syncopation 1.3. Triplet 1.4. Swing 2. Pitch (scales) 2.1. Building/recognizing a major scale on a different tonic (starting note)
Year 11 Music Revision Guidance
Year 11 Music Revision Guidance Name the musical instrument In the exam you will be asked to name different instruments that you can hear playing. If you do not play one of these instruments it can sometimes
Vie. A Concerto for Orchestra
Vie A Concerto for Orchestra Jukka Tiensuu 2007 Jukka Tiensuu: Vie A Concerto for Orchestra Instrumentation: 2 flutes (doubling piccolo) 2 oboes 2 clarinets in B b 1 bass clarinet 2 bassoons 2 horns in
Florent THOMAS Arranger, Composer, Interpreter
Florent THOMAS Arranger, Composer, Interpreter France, Montpellier About the artist I am an amateur musician and composer. I am a violinist and viola player for twenty years but I got into the composition
Macro Project #1 Dr. Kinney Music /18/2013. Megan Adler
Macro Project #1 Dr. Kinney Music 4576 3/18/2013 Megan Adler TEACHERS GUIDE A Prehistoric Suite Composer: Paul Jennings Grade Level 1 A Prehistoric Suite Composer: Paul Jennings Grade Level 1 Unit Guide
TRINITY TIMPANI MUSIC KNOWLEDGE CHECKLIST
by Bron Harrison So, you re sitting a Trinity exam and one of your options in the supporting tests is Musical Knowledge. Basically this means, the examiner can open your book and ask you anything about
(Thus Said) Dániel Péter Biró ( ) For Contralto, Piano, Ensemble, and Electronics. Material Press
m$ (Thus Said For Contralto, Piano, Ensemble, and Electronics Dániel Péter Biró (20082010 Material Press Copyright Dániel Péter Biró and Material Press All rights reserved Dániel Péter Biró Ko Amar Performance
œ Æ œ. œ - œ > œ^ ? b b2 4 œ œ œ œ Section 1.9 D Y N A M I C S, A R T I C U L A T I O N S, S L U R S, T E M P O M A R K I N G S
24 LearnMusicTheory.net High-Yield Music Theory, Vol. 1: Music Theory Fundamentals Section 1.9 D Y N A M I C S, A R T I C U L A T I O N S, S L U R S, T E M P O M A R K I N G S Dynamics Dynamics are used
James Whittle. Cornucopian cloud. for as many celli as possible
James Whittle Cornucopian cloud or as many celli as possible Cornucopian cloud or as many celli as possible i Programme Note Q. Why would I want to join an inexplicable mob? A. Tons o other people are
S I N E V I B E S FRACTION AUDIO SLICING WORKSTATION
S I N E V I B E S FRACTION AUDIO SLICING WORKSTATION INTRODUCTION Fraction is a plugin for deep on-the-fly remixing and mangling of sound. It features 8x independent slicers which record and repeat short
A series of music lessons for implementation in the classroom F-10.
A series of music lessons for implementation in the classroom F-10. Conditions of Use These materials are freely available for download and educational use. These resources were developed by Sydney Symphony
THEORY. Co-requisites and Equivalents There are no co-requisite theory requirements for Standard Syllabus examinations.
1 THEORY The NZMEB is offering written theory examinations from Grades 1 to 6. These will be held biannually on the first Saturday in May and the first Saturday after Labour Day. Entrants need to write
Kasper T Toeplitz DUST RECONSTRUCTION. For instruments and live electronics
Version 12/05/07 Kasper T Toeplitz DUST RECONSTRUCTION For instruments and live electronics Version with Sopranino Sax, Hurdy-Gurdy, and Electric Bowed Bass. All three musicians also play computer, and
MAGNUS LINDBERG : KRAFT. The positions are as follows:
MAGNUS LINDBERG : KRAFT PRACTICAL INFORMATION FOR SOLOISTS The positions are as follows: POS. 6 (behind the orchestra) O R C H E S T RA sol. C sol. D sol. B [home] sol. A sol. E Conductor (stage) Aisle
Version 1.0. General Certificate of Secondary Education June GCSE Music Listening to and Appraising Music Unit 1. Final.
Version 1.0 General Certificate of Secondary Education June 2013 GCSE Music 42701 Listening to and Appraising Music Unit 1 Final Mark Scheme Mark schemes are prepared by the Principal Examiner and considered,
FOURTH GRADE THEORY. Minor Sharps: A, E, B, F#, C# Flats: C, D, G, F, Bb Know the technical names of the degrees of scales i.
FOURTH GRADE THEORY KEYS AND SCALES Recognize and be able to write the scales listed with / without key signatures. All scales may be written for 1 or 2 octaves Know the position of tones and semitones
Igaluk To Scare the Moon with its own Shadow Technical requirements
1 Igaluk To Scare the Moon with its own Shadow Technical requirements Piece for solo performer playing live electronics. Composed in a polyphonic way, the piece gives the performer control over multiple
GRATTON, Hector CHANSON ECOSSAISE. Instrumentation: Violin, piano. Duration: 2'30" Publisher: Berandol Music. Level: Difficult
GRATTON, Hector CHANSON ECOSSAISE Instrumentation: Violin, piano Duration: 2'30" Publisher: Berandol Music Level: Difficult Musical Characteristics: This piece features a lyrical melodic line. The feeling
Power Standards and Benchmarks Orchestra 4-12
Power Benchmark 1: Singing, alone and with others, a varied repertoire of music. Begins ear training Continues ear training Continues ear training Rhythm syllables Outline triads Interval Interval names:
Morea fuga for violoncello. Martin Iddon (2014)
Morea fuga for violoncello Martin Iddon (2014) Performance instructions Morea is written in time-space notation: each notional bar has a duration of six seconds, with each system therefore lasting thirty-six
Music Study Guide. Moore Public Schools. Definitions of Musical Terms
Music Study Guide Moore Public Schools Definitions of Musical Terms 1. Elements of Music: the basic building blocks of music 2. Rhythm: comprised of the interplay of beat, duration, and tempo 3. Beat:
The Basics of Reading Music by Kevin Meixner
The Basics of Reading Music by Kevin Meixner Introduction To better understand how to read music, maybe it is best to first ask ourselves: What is music exactly? Well, according to the 1976 edition (okay
Do Bats Eat Cats? for: alto flute, clarinet Bb, violin, viola, cello, contrabass, piano and percussion.
Oer Pelz Do Bats Eat Cats? or alto lute, clarinet Bb, violin, viola, cello, contrabass, iano and ercussion. Commisioned by the Israeli Contemorary Players and the Ernst Von Siemens Paris 201011 Duration
Kaija Saariaho: Petals for Violoncello and Live Electronics (For component 3: Appraising)
Kaija Saariaho: Petals for Violoncello and Live Electronics (For component 3: Appraising) Background information and performance circumstances The composer Kaija Saariaho (born 1952) is one of the foremost
Writing for Piano Trio
String instrument ranges Writing for Piano Trio Violin Cello Bowing Techniques Term Abbreviation in the score What it means Arco arco Play using the bow Pizzicato pizz Pluck the strings Slur or Do not
Johnstone High School
Johnstone High School Pupil Workbook 1 1 2 Section 1 NOTE NAMES The STAVE is made up of 5 lines and 4 spaces and allows is to identify different notes. The treble clef, or G clef, is places at the beginning
Sibelius Projects for Students
Online Course Notes Sibelius Projects for Students Session 3 Katie Wardrobe Midnight Music www.midnightmusic.com.au Getting Started With Film Scoring 3 Project #1: Box Clever 3 Aim 3 Skills 3 Steps 3 Empty
Sequitur XIII for extended piano and live-electronics (two players)
Karlheinz Essl Sequitur XIII for extended iano and live-electronics (two layers) 2009 Dedicated to Tzenka Dianova 2009 by Karlheinz Essl www.essl.at Karlheinz Essl Sequitur XIII for extended iano & live-electronics
Information Sheets for Proficiency Levels One through Five NAME: Information Sheets for Written Proficiency Levels One through Five
NAME: Information Sheets for Written Proficiency You will find the answers to any questions asked in the Proficiency Levels I- V included somewhere in these pages. Should you need further help, see your
PSYCHOACOUSTICS & THE GRAMMAR OF AUDIO (By Steve Donofrio NATF)
PSYCHOACOUSTICS & THE GRAMMAR OF AUDIO (By Steve Donofrio NATF) "The reason I got into playing and producing music was its power to travel great distances and have an emotional impact on people" Quincey
Brian Riordan Laniakea 2015
Brian Riordan Laniakea 215 or pipa, horn in, double bass, piano, and laptop erormance Notes: The tempo o the entire piece is somehat lexible. All tempo markings are suggestive. It is preerred that a conductor
Fraction by Sinevibes audio slicing workstation
Fraction by Sinevibes audio slicing workstation INTRODUCTION Fraction is an effect plugin for deep real-time manipulation and re-engineering of sound. It features 8 slicers which record and repeat the
Sibelius Advanced Session 2
Online 2012 Sibelius Advanced Session 2 Katie Wardrobe Midnight Music Playback of your score: the importance of text 4 Tempo markings 4 Creating tempo markings 4 Metronome markings 4 Creating metronome
Greeley-Evans School District 6 High School (Year 3 & 4) Symphony Orchestra Curriculum Guide Unit: Intonation, balance, blend
Unit: Intonation, balance, blend Enduring Concept: Expression of Music Grade Level Expectations (GLE): Perform music accurately and expressively Why is it important to hear balance between other parts
8th Grade Intermediate Orchestra Curriculum
8th Grade Intermediate Orchestra Curriculum Course Description: Eighth Grade Intermediate Orchestra is the second full year in a six-year program designed to continue to develop the student's ability in
Assessment Schedule 2013 Making Music: Integrate aural skills into written representation (91420)
NCEA Level 3 Making Music (91420) 2013 page 1 of 6 Assessment Schedule 2013 Making Music: Integrate aural skills into written representation (91420) Evidence Statement ONE (a) (i) (iii) Shenandoah Identifies
Clarinet in B b. Kalaasi. for. flute, clarinet, trombone and contrabass
Clarinet in B b Kalaasi for flute, clarinet, trombone and contrabass Jukka Tiensuu 2012 Clarinet in B b Kalaasi for flute, clarinet, trombone and contrabass Jukka Tiensuu 2012 Enter on contrabass' third
Polytek Reference Manual
Polytek Reference Manual Table of Contents Installation 2 Navigation 3 Overview 3 How to Generate Sounds and Sequences 4 1) Create a Rhythm 4 2) Write a Melody 5 3) Craft your Sound 5 4) Apply FX 11 5)
Tempo this means the speed of the music, how fast (Presto) or slow (Lento) it is.
Year 8 - Revision Elements of Music The most important elements of music are dynamics, tempo, pitch, timbre, duration, texture and structure. These elements help us to create contrast in our music so that
A FUNCTIONAL CLASSIFICATION OF ONE INSTRUMENT S TIMBRES
A FUNCTIONAL CLASSIFICATION OF ONE INSTRUMENT S TIMBRES Panayiotis Kokoras School of Music Studies Aristotle University of Thessaloniki email@panayiotiskokoras.com Abstract. This article proposes a theoretical
3.8.2 Patterns and the Pattern Chainer Cycle Presets Loop Designer Credits... 42
Table of Contents 1 Welcome to NOVO ESSENTIALS!... 3 1.1 System Requirements... 3 1.2 Instrument Types... 3 1.3 Library Information... 3 2 The Traditional Instrument... 4 2.1 Interface and Navigation...
Trumpets. Clarinets Bassoons
LISTENING GUIDE RTÓK (1943) One of artók s last works, the was premiered by the oston Symphony Orchestra at Symphony Hall on December 1, 1944. The score was a commission from Serge Koussevitsky, the orchestra
ARIA STUDIOTRACK IIII R504
Front Panel Rear Panel The ARIA STUDIOTRACK IIII 504 is a high-quality multi-track cassette recorder capable of producing professional musical recordings and demo tapes. It is recommended for rack-mounting
Franco Donatoni - La Souris Sans Sourire for string quartet (ediz. Ricordi 1988)
Giovanni Bataloni Franco Donatoni - La Souris Sans Sourire for string quartet (ediz. Ricordi 1988) An overall view on form and analysis of the counterpoint and other combinatorial technics in Donatoni
Piano Concerto. Carl Schimmel. Department of Music Duke University. Date: Approved: Stephen Jaffe, Co Supervisor. Scott Lindroth, Co Supervisor
by Carl Schimmel Department of Music Duke University Date: Approved: Stephen Jaffe, Co Supervisor Scott Lindroth, Co Supervisor Bryan Gilliam Wagner Kamakura Dissertation submitted in partial fulfillment
FPFV-285/585 PRODUCTION SOUND Fall 2018 CRITICAL LISTENING Assignment
FPFV-285/585 PRODUCTION SOUND Fall 2018 CRITICAL LISTENING Assignment PREPARATION Track 1) Headphone check -- Left, Right, Left, Right. Track 2) A music excerpt for setting comfortable listening level.
HOW TO STUDY: YEAR 11 MUSIC 1
HOW TO STUDY: YEAR 11 MUSIC 1 AURAL EXAM EXAMINATION STRUCTURE Length of the exam: 1 hour and 10 minutes You have 5 minutes of reading time before the examination starts you are NOT allowed to do any writing
Tiptop audio z-dsp.
Tiptop audio z-dsp www.tiptopaudio.com Introduction Welcome to the world of digital signal processing! The Z-DSP is a modular synthesizer component that can process and generate audio using a dedicated
MELODIC NOTATION UNIT TWO
MELODIC NOTATION UNIT TWO This is the equivalence between Latin and English notation: Music is written in a graph of five lines and four spaces called a staff: 2 Notes that extend above or below the staff
Bruno Ruviaro. Ventania (2004) for flute, clarinet in Bb, violin, violoncello, piano and percussion
Bruno Ruviaro Ventania (2004) or lute, clarinet in Bb, violin, violoncello, iano and ercussion NOTATION Resectively: /4-tone lat, 1/2-tone lat, 1/4-tone lat, natural, 1/4-shar, 1/2-tone shar, /4-tone shar.
HIGHLANDS CHOIR SEMESTER EXAM REVIEW. Whole Half Quarter Eighth Sixteenth. Whole Half Quarter Eighth Sixteenth
HIGHLANDS CHOIR SEMESTER EXAM REVIEW Types of Notes and Rests Notes Rests Whole Half Quarter Eighth Sixteenth Whole Half Quarter Eighth Sixteenth Time Signature or Meter The Staff and the Clefs The top
Kenaxis & Kenaxis VBAP the manual
www.kenaxis.com Kenaxis & Kenaxis VBAP the manual Table of Contents Kenaxis Overview... 4 - Setup...5 - Keyboard & Mouse Control...6 The Klang... 7 - Loading a sample...7 - Recording a sample...8 - Start,
Curriculum Guides. High School Music. Weld County School District 6 Learning Services th Avenue Greeley, CO /
2012-2013 Curriculum Guides High School Music Weld County School District 6 Learning Services 1025 9 th Avenue Greeley, CO 80631 970/348-6000 Band Greeley-Evans School District 6 High School Performance
TRUMPET. trumpeter s guide. music of expression musicofx.com. (c) 2009 mode of expression, LLC 1
TRUMPET trumpeter s guide music of expression musicofx.com 1 TRUMPET: trumpeter s guide www.musicofx.com TRUMPET Orientation 3 Playing TRUMPET 4 Configuring TRUMPET control 5 Fingerings 6 TRUMPETʼs Sound
Essential Learning & Skills
END OF 5 th GRADE: Use self-reflection and peer feedback to refine individual and ensemble performances of a varied repertoire of music (MU:Pr5.3.E.5a). IS.1: Demonstrate proper care and maintenance of
A Composition for Clarinet and Real-Time Signal Processing: Using Max on the IRCAM Signal Processing Workstation
A Composition for Clarinet and Real-Time Signal Processing: Using Max on the IRCAM Signal Processing Workstation Cort Lippe IRCAM, 31 rue St-Merri, Paris, 75004, France email: lippe@ircam.fr Introduction.
Credits:! Product Idea: Tilman Hahn Product Design: Tilman Hahn & Dietrich Pank Product built by: Dietrich Pank Gui Design: Benjamin Diez
whoosh 1.1 owners manual Document Version: 2.0 Product Version: 1.1 System Requirements: Mac or PC running the full version of Native Instruments Reaktor 5.9 and up. For Protools users: We no longer support
High School Campus Band Curriculum
High School Campus Band Curriculum Course Description: Campus Band is the entry level high school band and follows the Park Hill 8th Grade Band curriculum. This year-long class is designed for the wind
Music Essential Learning Outcomes and Learning Targets
Music Essential Learning Outcomes and Learning Targets Addison Central School District - February 2017 Essential Learning Outcomes (ELOs) 1. I use rhythm skills to make my receptive and expressive musical
High School Concert Band Curriculum
High School Concert Band Curriculum Course Description: This year-long class is primarily a performance-oriented ensemble. Students gain membership in Concert Band through the audition of scales and prepared
Title: Incantation and Dance Composer: John Barnes Chance Joe Kulick 1 Measure # Form. Largo Q=54 Poco più mosso Q=66
Title: Incantation and Dance Composer: John Barnes Chance Joe Kulick 1 Measure # 1 2 3 4 5 6 7 8 9 10 11 12 13 14 Form Incantation: A Phrase Tempo Largo Q=54 Poco più mosso Q=66 Dynamics fl: mp cres. dim.
College of Arts & Sciences
Santa Clara University Scholar Commons Music College o Arts & Sciences 2007 Anomia Bruno Ruviaro Santa Clara University, bruviaro@scu.edu Follow this and additional works at: htt://scholmmons.scu.edu/music
- String Quartet No. 2 -
- String Quartet No. 2-2008 Violin I Violin II Viola Eric Skytterholm Egan 12 Minutter Violoncello Perormance Notes: 1/8 tone /8 tone 5/8 tone 7/8 tone 1/4 tone 1/2 tone /4 tone 1/8 tone /8 tone 5/8 tone
Music Theory. Level 1 Level 1. Printable Music Theory Books. A Fun Way to Learn Music Theory. Student s Name: Class:
A Fun Way to Learn Music Theory Printable Music Theory Books Music Theory Level 1 Level 1 Student s Name: Class: American Language Version Printable Music Theory Books Level One Published by The Fun Music
8/16/16. Clear Targets: Sound. Chapter 1: Elements. Sound: Pitch, Dynamics, and Tone Color
: Chapter 1: Elements Pitch, Dynamics, and Tone Color bombards our ears everyday. In what ways does sound bombard your ears? Make a short list in your notes By listening to the speech, cries, and laughter
La Salle University. I. Listening Answer the following questions about the various works we have listened to in the course so far.
La Salle University MUS 150-A Art of Listening Midterm Exam Name I. Listening Answer the following questions about the various works we have listened to in the course so far. 1. Regarding the element of
The Keyboard. An Introduction to. 1 j9soundadvice 2013 KS3 Keyboard. Relevant KS3 Level descriptors; The Tasks. Level 4
An Introduction to The Keyboard Relevant KS3 Level descriptors; Level 3 You can. a. Perform simple parts rhythmically b. Improvise a repeated pattern. c. Recognise different musical elements. d. Make improvements
Among Fields of Crystal Harold Bud & Brian Eno
Among Fields of Crystal Harold Bud & Brian Eno Critical Analysis by Mitchell Benham Introduction In 1980, 'Ambient 2: The Plateaux of Mirror' was released as the second instalment in what would grow to
Short Bounce Rolls doubles, triples, fours
Short Bounce Rolls doubles, triples, fours A series of two, three, or more bounces per arm stroke that are of equal intensity and distance (spacing). The character of multiple bounce rolls should be seamless
Largo Adagio Andante Moderato Allegro Presto Beats per minute
RHYTHM Rhythm is the element of "TIME" in music. When you tap your foot to the music, you are "keeping the beat" or following the structural rhythmic pulse of the music. There are several important aspects
Music Theory. Level 1 Level 1. Printable Music Theory Books. A Fun Way to Learn Music Theory. Student s Name: Class:
A Fun Way to Learn Music Theory Printable Music Theory Books Music Theory Level 1 Level 1 Student s Name: Class: European Language Version Printable Music Theory Books Level One Published by The Fun Music
CURRICULUM Georgia Auditions Theory Exams LEVEL A (Grades 4-6) Examples may be given on the treble staff, bass staff, or Grand Staff.
LEVEL A (Grades 4-6) Examples may be given on the treble staff, bass staff, or Grand Staff. Key Signatures ID: Major up to 3 sharps & flats (C, G, D, A, F, Bf, Ef) Notes: Ωç e q h hd w Rests: quarter,
Implementation of an 8-Channel Real-Time Spontaneous-Input Time Expander/Compressor
Implementation of an 8-Channel Real-Time Spontaneous-Input Time Expander/Compressor Introduction: The ability to time stretch and compress acoustical sounds without effecting their pitch has been an attractive
EDWARDELGAR - ENIGMA VARIATIONS
EDWARDELGAR - ENIGMA VARIATIONS Edward Elgar s Enigma Variations is one of the most beloved pieces in the symphonic repertoire. These variations, which depict his friends, are both creative as well as
In Search of a Comedy Education Kit
In Search of a Comedy Education Kit In Search of a Comedy Education kit Contents 1. Introduction 2. About Paul Grabowsky 3. Paul on Sibelius 5 4. Using the Ideas Hub in the composition tasks 5. Music concepts
Haydn: Symphony No. 101 second movement, The Clock Listening Exam Section B: Study Pieces
Haydn: Symphony No. 101 second movement, The Clock Listening Exam Section B: Study Pieces AQA Specimen paper: 2 Rhinegold Listening tests book: 4 Renaissance Practice Paper 1: 6 Renaissance Practice Paper
Music Fundamentals. All the Technical Stuff
Music Fundamentals All the Technical Stuff Pitch Highness or lowness of a sound Acousticians call it frequency Musicians call it pitch The example moves from low, to medium, to high pitch. Dynamics The
Assessment Schedule 2017 Music: Demonstrate aural understanding through written representation (91275)
NC Level 2 Music (91275) 2017 page 1 of 7 ssessment Schedule 2017 Music: emonstrate aural understanding through written representation (91275) ssessment Criteria with with emonstrating aural understanding
Cathedral user guide & reference manual
Cathedral user guide & reference manual Cathedral page 1 Contents Contents... 2 Introduction... 3 Inspiration... 3 Additive Synthesis... 3 Wave Shaping... 4 Physical Modelling... 4 The Cathedral VST Instrument...
8/5/17. Good Morning/Afternoon! AUGUST 21, 2017
WELCOME BACK!!!! AUGUST 18, 2017 On a sheet of paper, tell me three things: What did you do this summer? How was music a part of your life? Did you sing in public this summer? AUGUST 21, 2017 1. Where
UNIT 1: QUALITIES OF SOUND. DURATION (RHYTHM)
UNIT 1: QUALITIES OF SOUND. DURATION (RHYTHM) 1. SOUND, NOISE AND SILENCE Essentially, music is sound. SOUND is produced when an object vibrates and it is what can be perceived by a living organism through
Sound Magic Piano Thor NEO Hybrid Modeling Horowitz Steinway. Piano Thor. NEO Hybrid Modeling Horowitz Steinway. Developed by
Piano Thor NEO Hybrid Modeling Horowitz Steinway Developed by Operational Manual The information in this document is subject to change without notice and does not present a commitment by Sound Magic Co.
The Elements of Music. A. Gabriele
The Elements of Music A. Gabriele Rhythm Melody Harmony Texture Timbre Dynamics Form The 7 Elements Rhythm Rhythm represents the element of time in music. When you tap your foot, you are moving to the
Four Head dtape Echo & Looper
Four Head dtape Echo & Looper QUICK START GUIDE Magneto is a tape-voiced multi-head delay designed for maximum musicality and flexibility. Please download the complete user manual for a full description
ASD JHS CHOIR ADVANCED TERMS & SYMBOLS ADVANCED STUDY GUIDE Level 1 Be Able To Hear And Sing:
! ASD JHS CHOIR ADVANCED TERMS & SYMBOLS ADVANCED STUDY GUIDE Level 1 Be Able To Hear And Sing: Ascending DO-RE DO-MI DO-SOL MI-SOL DO-FA DO-LA RE - FA DO-TI DO-DO LA, - DO SOL. - DO Descending RE-DO MI-DO
Oak Bay Band MUSIC THEORY LEARNING GUIDE LEVEL IA
Oak Bay Band MUSIC THEORY LEARNING GUIDE LEVEL IA Oak Bay Band MUSIC THEORY PROGRAM - LEVEL IA The Level IA Program is intended for students in Band 9. The program focuses on very simple skills of reading,
ENVIRONMENTAL ISSUES CENTRES PREPARATION (Teacher Reference)
APPENDIX A Creating and Performing with an Environmental Theme Grade 7 Arts: Music 4 T T ENVIRONMENTAL ISSUES CENTRES PREPARATION (Teacher Reference) Create four or five Environmental Issues Centres, each
1 Overview. 1.1 Nominal Project Requirements
15-323/15-623 Spring 2018 Project 5. Real-Time Performance Interim Report Due: April 12 Preview Due: April 26-27 Concert: April 29 (afternoon) Report Due: May 2 1 Overview In this group or solo project,
Instrumental Music I. Fine Arts Curriculum Framework. Revised 2008
Instrumental Music I Fine Arts Curriculum Framework Revised 2008 Course Title: Instrumental Music I Course/Unit Credit: 1 Course Number: Teacher Licensure: Grades: 9-12 Instrumental Music I Instrumental
INDIVIDUAL INSTRUCTIONS
Bracken (after Christian Wolff) (2014) For five or more people with computer direction Nicolas Collins Bracken adapts the language of circuits and software for interpretation by any instrument. A computer
Unit Outcome Assessment Standards 1.1 & 1.3
Understanding Music Unit Outcome Assessment Standards 1.1 & 1.3 By the end of this unit you will be able to recognise and identify musical concepts and styles from The Classical Era. Learning Intention
Parameters I: The Myth Of Liberal Democracy for string quartet. David Pocknee
Parameters I: The Myth Of Liberal Democracy for string quartet David Pocknee Parameters I: The Myth Of Liberal Democracy for string quartet This is done through the technique of parameter mapping (see