FOUR SONATAS FOR HARP WITH VIOLIN ACCOMPANIMENT LAURA LEE LOGAN, B.M. A THESIS MUSIC HISTORY AND LITERATURE

Size: px
Start display at page:

Download "FOUR SONATAS FOR HARP WITH VIOLIN ACCOMPANIMENT LAURA LEE LOGAN, B.M. A THESIS MUSIC HISTORY AND LITERATURE"

Transcription

1 FOUR SONATAS FOR HARP WITH VIOLIN ACCOMPANIMENT BY EUGENE GUILBERT: A MODERN EDITION by LAURA LEE LOGAN, B.M. A THESIS IN MUSIC HISTORY AND LITERATURE Submtted to the Graduate Faculty of Texas Tech Unversty n Partal Fulfllment of the Requrements for the Degree of MASTER OF MUSIC Approved December, 1988

2 It) 7ff Copyrght Laura Lee Logan, 1988

3 ACKNOWLEDGEMENTS My most sncere thanks to the members of my commttee: Dr. Paul Cutter for hs hours of nvaluable help and always cheerful encouragement. Professor Gal Barber for provdng the orgnal edton of the Four Sonatas and for her nsghts nto the nterpretaton of ornaments on the harp, and Dr. Rchard McGowan for hs revew and crtcsm of the text. Also thanks to Judy Marley for her tremendous assstance n lbrary research and to Susan Baer for her help n edtng the voln part

4 TABLE OF CONTENTS ACKNOWLEDGEMENTS CHAPTER L THE EIGHTEENTH CENTURY HARP 1 Development of the Pedal Harp 1 Composton for the 18 th Century Harp 3 Harp Composers of the Classcal Perod 4 PART ONE INTRODUCTION TO THE EDITION n. EUGENE GUILBERT 10 m. AN ANALYSIS OF THE FOUR SONATAS 12 Hstorcal Perspectve 12 Style and Form 15 Harmonc and Structural Analyss 17 Summary 19 IV. EDITORIAL PROCEDURES 21 Changes from the Orgnal Score 21 The FuU Score 22 Tempo 22 Dynamcs 23 Fngerngs 23 Bowngs 23 Ornaments 24 SELECTED BIBLIOGRAPHY 30

5 APPENDIX A: LIST OF WORKS APPENDIX B: GUILBERTS LAST WILL AND TESTAMENT PART TWO FOUR SONATAS FOR HARP WITH VIOLIN ACCOMPANIMENT, OP. 3 SONATA NO. 1 IN Bb MAJOR SONATA NO. 2 IN Eb MAJOR SONATA NO. 3 IN C MAJOR SONATA NO. 4 IN F MAJOR CRITICAL NOTES VIOLIN SCORE In Pocket IV

6 CHAPTER I THE EIGHTEENTH CENTURY HARP German developments n the mechansm of the harp takng place early n the eghteenth century led to an exploson of nterest n the nstrument among "serous" muscal crcles. Thus, the harp became not only a fashonable nstrument for the drawng room, but also the choce of many fme vrtuoso performers. These artsts were very often closely assocated wth a composer or were composers n ther own rght, tourng extensvely and promotng the harp and the new feld of harp lterature. Development of the Pedal Harp The sngle most outstandng mpetus n the harp's newly-ganed popularty was the nventon of the sngle-acton harp, whch allowed for a wder varety of keys and greater possbltes of modulaton. Jakob Hochbrucker of Bavara (bom c. 1673) s generally credted wth ts nventon sometme around the year Earler, n the late seventeenth century, metal hooks had been nserted nto the neck of the harp below the tunng pns of selected strngs. When the hook was turned by the left hand of the harpst, the correspondng strng was shortened, thus rasng the ptch of that strng by one half step. Whle ths was a tremendous mprovement over the cumbersome double and trple strung chromatc harps of the prevous generaton, the system of hooks had several shortcomngs. Not every strng was ftted wth a hook, partcularly those n the extreme octaves. Because the hooks were manually operated, only one strng could be sharpened at a tme and the left hand necessarly had to cease playng n order to accomplsh the change. These nconvenences were remeded wth the development of a pedal-operated system for turnng the hooks. Pedals extendng from the bottom of the nstrument were lnked to 1

7 2 the hook mechansm by wres runnng through the resonatng body up to the harp's strng arm or neck. Each pedal controlled all the octaves of the ptch for whch t was named. Early experments had only fve pedals, C, D, F, G and A; however, B and E pedals were soon added n order to cover every note of the scale. The sngle-acton pedal harps were tuned n Eb major, so that by a varety of pedal combnatons t was possble to play n eght major keys ( Eb, Bb, F, C, G, D, A and E ) and fve mnor keys ( c, g, d, a and e ). In order to be able to play n the key of Ab major, t was common practce to tune all the D strngs down to Db. Besdes Hochbrucker, other harp makers nvolved n the development of the pedal harp ncluded Georg Adam Goepfert (Gaffre, c ), a German harpst actve n Pars, and Jean Paul Vetter of Nuremberg, known to have bult a pedal harp around As the nstrument's mechansm became more sophstcated, alteratons were made n ts constructon and appearance. The pedals were housed n a sturdy box-lke base whch anchored the column and the body. Steel rods replaced wres n lnkng the pedals to the acton n the neck. The column of the harp was enlarged and hollowed out to accommodate the seven pedal rods. Improvements n the sharpng mechansm were made largely n Pars, whch by the md- 1750's had become the center of the harp world. Aesthetcally, a great contrbuton of French harp makers came n the way of beautfully carved and glded columns and exqustely panted soundboards. Study of the harp was hghly cultvated by the French arstocracy, no doubt n emulaton of Mare-Antonette, one of the more nfamous harpsts of the tme. Naturally, the physcal appearance of the nstrument was at least as mportant to wealthy courters as ts tone. Roslyn Rensch, The Harp: Its Hstory. Technque and Repertore (New York: Praeger Publshers, Inc., 1969), p. 98. Ann Grffths et al., "Harp," The New Grove Dctonary of Muscal Instruments, ed. Stanley Sade (London: MacMllan Press Lmted, 1984), Vol. 2, p. 146.

8 3 The late eghteenth century harp was graceful and delcate, usually 60 to 65 nches n heght and havng between 36 and 43 strngs. The nstrument was lghdy strung n gut, wth the excepton of the lowest sx or eght songs whch were wre-wrapped gut or slk. An engravng n Dderot and D'Alembert's Encvclopede (1767) llustrates n some detal a typcal sngle-acton pedal harp.3 The sngle-acton pedal harp remaned predomnant through the end of the century. The next major break-through n harp constructon dd not occur untl 1810, when Sebasten Erard patented the frst double-acton pedal harp. Now each strng could be rased two half-steps, fnally allowng the harpst to play n all keys easly and relatvely n tune. By ths tme, a new era n muscal tastes and compostonal style was comng to the fore and the harp became even more attractve both as a solo and orchestral nstrument The scope of ths thess, however, wll concern tself prmarly wth eghteenth century Classcsm and the sngle-acton pedal harp. Composton for the 18th Centurv Harp Characterstc harp wrtng of the perod conssted of apeggated fgures and chorda! and scalar passages. Octave doublngs and chord vocngs necesstatng awkward stretches of the hand were not unusual. C.P.E. Bach's Sonata n G Major (1762) "makes no concessons to ether the lmtatons of the [sngle-acton] harp... or those of the executant"; neterdoes Mozart's Concerto for Bute and Harp (K299). wrtten n 1778.~ Smaller spacngs between strngs and the fact that these harps were more lghdy strung than ther modem-day counterparts made t dstncty easer to execute such passagework and at a faster tempo. Ornaments, especally trlls and turns, were more easly dspatched as 'Reproduced n Grffths, p Grffths, p. 149.

9 4 weu.the overall style of playng n the late 1700's was much lghter and more precous than the vgorous attack of the nstrument advocated by many twenteth century schools. At a glance, most harp scores from ths tme appear to be very smlar to compostons for the keyboard. It can be assumed that many keyboard peces were adapted for harpsts' use, owng to the sheer lack of avalable lterature. Harp transcrptons are qute common even n the present day. As for domatc smlartes between orgnal harp compostons and works for the keyboard, ths was probably due to the newness of the nstrument tself and composers' unfamharty wth ts capabltes and lmtatons. A few domatc effects such as sngle harmoncs and sons etouffes (quckly muffled notes) n the left hand were n common use. Some of the more outstandng composers for the harp utlzed enharmoncs (made possble by the manpulaton of pedals and equal temperament tunng) to extend the chromatc capabltes of the nstrument. A classc example s the Eb mnor openng of Krumpholtz's Sonata No. 5 whch uses the enharmonc equvalents of Fttfor Gb, B'?for Cb, Efor Fb and C#for Db. For the most part, however, composers elected to stay wthn conventonal parameters of style and avalable keys. A large body of Classcal peces for the hap was wrtten n the open key of Eb major and modulatons tended to nvolve only closely related keys. Harp Composers of the Classcal Perod One member of the Hochbrucker famly of nstrument makers and muscans, Jakob Hochbrucker, has already been cted as a key fgure n the development of the pedal harp. It was Jakob's son Smon ( ) who premered the Hochbrucker sngle-acton pedal harp n Venna n 1729 and n Brussels n 1739 through a seres of hghly successful rectal tours. Two of Smon's nephews, Coelestn ( ) and Chrstan (1733- Grfflhs, p. 149.

10 5 1792), were also harpsts and composers. Chrstan Hochbrucker was wdely known n Pars as a vrtuoso harpst, harp teacher and composer. Hs works for harp, publshed n Pars and London, nclude three sets of sonatas (some wth voln accompanment). Op. 1, 6 and 22; harp duos. Op. 9; dvertssements. Op. 10; and harp accompanments to arettes by other composers. Op. 2, 3 and 4. Another German harpst/composer to make hs career n France was Phlpp Joseph Hnner (c ). From 1775 untl c.1777, Hnner was harpst to Mare Antonette.'' Hnner's compostons were publshed n Pars and London from c and nclude sonatas for harp wth voln. Op. 5-7; duets for two harps, Op. 1, 3, 8 and 10; accompanments to arettes by other composers. Op. 4 and 11; and sets of varatons for the harp. Jean-Baptste Cardon ( ) was harpst to the royal famly n Russa from He produced many compostons for the harp ncludng more than 40 sonatas wth voln accompanment. Cardon also wrote a harp concerto, symphones concertantes, varatons, duets and a volume of exercses for the pedal harp, L'art de ouer de la harpe. Op. 12, publshed n Pars c Phlppe-Jacques Meyer ( ) was a pupl of Chrstan Hochbrucker n Pars. Meyer s sad to have ntroduced the pedal harp to England durng hs frst vst there n Besdes composng many chamber peces wth harp and works for the solo harp, Meyer publshed a harp method n 1763 whch s notable as the frst hstorcal survey of harps. In t, he dscussed bot the old hook harp and the new pedal harp. Meyer's sons. "Hochbrucker," The New Grove Dctonary of Musc and Muscans, ed. Stanley Sade (London: MacMllan, 1980), Vol. 8, p '"Phlpp Joseph Hnner," The New Grove Dctonary. Vol. 8, p "Jean-Baptste Cardon," The New Grove Dctonary. Vol. 3, p "Phlppe-Jacques Meyer," The New Grove Dctonary. Vol. 12, p. 245.

11 Phlppe-Jacques (d.l841) and Frederc-Charles, were harpsts, teachers and composers n England. Each publshed "lght" musc for the harp such as lessons, song arrangements, varatons, dvertment and sonatas. Frederc-Charles also wrote a harp method (c.l825) for the double-acton harp. Two other Meyers, Johann Bemhard and Johann Baptst, not related to Phlppe-Jacques, were actve n Pars and London as harpsts and harp composers durng ths perod, ' The three composers who made the greatest contrbuton to the lterature of the sngleacton harp were all marred to professonal harpsts. Many of the works of these three men Krumpholtz, Dussek and Spohr form an mportant part of the standard modem repertore for the pedal harp. Johann-Baptste Krumpholtz (b.l742) studed composton wth Haydn and was solo harpst n Count Esterhazy's orchestra n Verma. Krumpholtz was fascnated by nstrument desgn and made several attempts at mprovng the mechansm of the harp. After hs death, some of hs nnovatons were used by Erard n developng the nneteenth century double-acton harp. Krumpholtz marred hs harp student, Anne-Mare Steckler, n Anne-Mare later ran off to London wth J. L. Dussek; Krumpholtz subsequenty drowned hmself n the Sene n Krumpholtz was one of the vrtuoso harpsts of hs day and was qute a prolfc composer. Hs sx concert and over 50 sonatas and other works for harp appeared n Pars from about Krumpholtz was one of the more darng of the Classcal harp composers, wrtng techncally demandng works that stretched to the lmt the harmonc capabltes of the sngle-acton harp. op. ct. 11 Grffths, p "Krumpholtz," The New Grove Dctonary. Vol. 10, p

12 7 Jan Ladslav Dussek ( ) was a Boheman panst and composer. Dussek's mother was a harpst and he eventually marred a harpst, Sopha Corr, n Dussek's early works are n the Classcal style, but hs later works exhbt Romantc tendences. Hs compostons nclude four double concert for panoforte and harp, one solo harp concerto (lost), some chamber musc, sonatas and sonatnas for harp. The German composer, volnst and conductor Ludwg [Lous] Spohr ( ) belonged to the early Romantc perod as a leadng composer of nstmmental musc, Hs sx sonatas for voln and harp, however, were wrtten and frst performed on the sngleacton harp and for that reason he s ncluded as the last of ths generaton of harp composers. Spohr marred vrtuoso harpst Dorette Shedler n 1806 and composed numerous works for harp and voln for ther jont concert tours. The sx duo sonatas, composed n , are outstandng examples of early wrtng for the pedal harp n the varety of harp technques as well as n muscal content. Spohr also composed a concerto for voln and harp, another for flute, voln and harp, and fantasas and sets of varatons for the harp. Other noteworthy harp composers actve at the end of the eghteenth century nclude Johann Georg Albrechtsberger ( ) and Adren Boeldeu ( ). Albrechtsberger, an Austran composer, theorst and organst, was Kapellmester at St. Stephen's Cathedral n Venna from 1799 untl hs death. He was a frend of both Haydn and Mozart and was a teacher of Beethoven, Harpsts recognze Albrechtsberger prmarly for hs harp concerto of 1773, a work whch remans part of the standard concerto repertore. Boeldeu, known as "The French Mozart" for hs fresh and 13"Dussek," The New Grove Dctonary. Vol. 5, p l'"lous Spohr," The New Grove Dctonary. Vol. 18, p "Johann Georg Albrechtsberger," The New Grove Dctonary. Vol. 1, p

13 8 spontaneous themes and crystalune melodc lnes, was the leadng composer of operas comques durng the early nneteenth century. Boeldeu also wrote a harp concerto (1801) and chamber musc for harp. Ernst Echner ( ) s prmarly known as a pre-classcal symphonst, but he wrote two concert for harp (or harpschord) n 1770 and '' Francesco Petrn ( ) belonged to a German famly of harpsts and composers of Italan descent Pettn wrote many sonatas for harp wth voln accompanment, fve harp concert. four "symphones" for harp wth optonal nstrumental accompanment, plus varous other works for harp. Petrn publshed a harp method n the late 1770's as well as several books on harmony. 18 Menton should also be made of the French harpst and composer Martn- Pere Dalvmare ( ). Dalvmare was a membct of Napoleon's prvate chamber orchestra n 1806 and was apponted hap tutor to Josephne n the followng year. Among hs many fne works for harp are symphone concertante of 1798, a harp concerto, Op. 30, over sxteen sonatas for harp (many wth voln accompanment or obblgato parts) and some duos, fantasas and sets of varatons. As wth any genre n a partcular perod n the hstory of musc, the composers that have been cted comprse only a small part of the actual number that exsted. Many more reman unknown and forgotten. Eugene Gulbert s one of those lost composers. 16"Adren Boeldeu," The New Grove Dctonary. Vol. 2, p ''"Ernst Echner," The New Grove Dctonary. Vol. 6, p "Petrn," The New Grove Dctonary. Vol. 14, p "Martn-Perre Dalvmare," The New Grove Dctonary. VoL 5, p

14 PART ONE INTRODUCTION TO THE EDITION

15 CHAPTER n EUGENE GUILBERT Ltte s known of Eugene Gulbert's lfe, especally pror to hs mmgraton to the Unted States. The Bographcal Dctonarv of Amercan Musc gves hs brthdate as c. 1780,1 yet recent research has placed hm qute a bt earler. Accordng to an artcle appearng n The U.S. Catholc Mscellany. Vol. XVII, n the year of hs death, Eugene Andre Lous Gulbert was bom September 15, 1758 n Madrd, Span, probably of French parentage.2 Early n lfe he served n the French army, taught at the Brtsh Court (hs Ouatre Sonates are dedcated to a member of the Egerton famly) and vsted the West Indes before arrvng n Charleston, South Carolna sometme before 1809, the frst year hs name appears n the cty drectory. Gulbert marred Magdalene Delome (date unknown) and fathered four daughters. Many well-traned and respected muscans mmgrated from Europe durng the Colonal perod n Amercan hstory. Gulbert was a recognzed harpst and composer n France and England. Hs two sets of sonatas and a concerto for the harp were already pubushed before hs appearance n the Unted States. Most of hs Amercan works are songs n French and Englsh, although he dd compose a march for Lafayette and one for Presdent Monroe. Much of Gulbert's publshed repertore s wrtten for the talented amateur n the popular salon musc genre of the day. A manuscrpt score of a Mass for ICharles Eugene Claghom, Bographcal Dctonary of Amercan Musc (West Nyack, N.Y.: Parker Publshng Company, Inc., 1973). Norbcrt J. Burke, Letter to South Carolna Hstorcal Mapazne. Aprl 21, 1966, Eugene Gulbert papers, South Carolna Hstorcal Socety, Charleston, S.C. Rchard J. Wolfe. Secular Musc n Amerca (New York: The New York Publc Lbrary, 1964). I,

16 11 chor and organ (preserved n the New York Publc Lbrary) s qute possbly the only extant large-scale work by Gulbert. Gulbert was also cted as a publsher n Charleston between c.1817 and However, from what ltte nformaton s avalable, t seems that he publshed only hs own compostons.'* It was a common practce n the Unted States and abroad at ths tme, especally for those composers tryng to establsh a reputaton, to have works publshed "at the author's expense" or "for the author" wth ether the composer's name as publsher or no publsher's name gven at all. Gulbert contnued to lve and work n Charleston untl hs death n The death certfcate as recorded by te County Regster lsts the cause of death as "old age" and reports the date as beng between the January 27 and February 3, Gulbert was bured n St. Mary's Churchyard n Charleston, wth hs Coat of Arms carved on hs tombstone. Gulbert was eulogzed as a "respectable nhabtant of ths cty" [Charleston] and a man "ardently attached to musc, for whch he had an exquste taste." The four daughters were equally provded for n Gulbert's last wll and testament, wrtten n 1838 and on probate n Charleston County. Magdalene Delome Gulbert presumably ded sometme earuer, as she s not mentoned n the document.'' Wolfe, m, Burke. Burke. See Appendx B.

17 CHAPTER m AN ANALYSIS OF THE FOUR SONATAS Hstorcal Perspectve Gulbert's Four Sonatas for Harp wth Voln Accompanment. Op.3, belong to the genre of the accompaned keyboard sonata, a muscal form unque to the Classcal perod, The huge success of the accompaned keyboard sonata can be drecty related to the new socal promnence of the muscal dlettante n the eghteenth century and hs desre for accessble musc deal for the salon: lght, elegant, charmng to lsten to and, above all, havng smple parts wth whch even the most untraned amateur could partcpate. One of the prmary functons of the sonata durng the Enlghtenment was to provde a source of entertanment n domestc musc-makng.2 Solo sonatas, ncludng those of the masters- Haydn, Mozart and Beethoven were seldom presented as featured tems n publc concerts. The symphony, nstrumental concerto and the opera ara were consdered to be the mportant showpeces for the vrtuoso performer, solo sonatas were gven second bllng as mere vehcles of techncal dsplay. Nevertheless, an enormous number of sonatas was wrtten and publshed n Pars and London n the mddle to late eghteenth century, most of them fallng nto the category of the more facle accompaned keyboard sonata.3 IWllam S. Newman, Mchael Tlmouth, and Paul Grffths, "Sonata," The New Grove Dctonary. Vol. 17, p Newman, "Sonata," p Newman, "Sonata," p

18 13 The orgns of the new genre can be traced back to voln sonatas wth realzed harpschord parts, such as those of J.S. Bach and other Baroque composers.'* These works, n three-part textures consstng of the voln lne and keyboard treble and bass lnes, were often descrbed as beng "en tro," a desgnaton whch remaned n use through the mddle of the eghteenth century. The frst clear examples of the accompaned keyboard sonata are found n the French peces de clavecn en sonates. avec accompagnement de volon of the 1730's and 40's. Jean-Joseph Cassanea de Mondonvlle was one of the leaders n thsfeld hsfrstset of accompaned clavecn sonatas, Op. 3, appeared c In the dedcaton to hs patron he stated that "For several years such a prodgous number of sonatas of all types have been brought to lght that there s no one who does not beleve ths genre s exhausted. However,... I have sought to fnd somethng new...." It was somethng new ndeed The accompaned keyboard settng, because of ts smple, gracous character and easy parts, became extremely popular among muscal amateurs and, therefore, hghly proftable; so proftable, n fact, that no sonata was safe from the unsolcted addton of an accompanment part by a publsher tryng to augment sales. Accompanments were very often prnted and sold separately wthout any ndcaton n the keyboard score.' Composers who wshed ther solo keyboard sonatas to reman unaccompaned attempted to ndcate such by makng the dstncton "for panoforte only."8 The accompaned keyboard sonata became such a standard settng, especally durng the 'Wllam S. Newman, The Sonata n the Classc Era. 3rd. ed. (New York: W.W. Norton & Co. Inc., 1983), 99. Davd Fuller, "Accompaned keyboard musc," The New Grove Dctonary. Vol. 1, p. 37. Newman, Sonata n the Classc Era, p Newman, "Sonata," p op. ct.

19 14 thrd quarter of the century, that t was utlzed by almost every major sonata composer and hundreds of ther lesser contemporares. Among Mondonvlle's Parsan colleagues n the genre were Gulleman, Clement, Conette and Shobert. Composers n London and elsewhere ncluded Gardn, Bocchern, C.P.E. and J.C. Bach, CF. Abel, Haydn, plus Mozart and dement. The materal of prmary nterest n ths type of sonata s n the keyboard. The accompanyng nstrument usually voln orflute wasmarked ad lbtum and could easly have been omtted altogether, as Gulleman suggested for hs Op. 13 of 1745: "If one wshes, one can play these sonatas wth or wthout accompanment. They wu lose none of ther melody, snce t s all complete wthn the clavejn part...." Nevertheless, the accompanyng part enrched the texture of de pece n a varety of ways, makng ts absence regrettable. The voln (or ts alternatve) could smply double the treble of te keyboard part or t could move n thrds or sxths wth the melody. The accompanment sometmes flled n wth long sustaned notes (or trlls), or t created movement by supplyng off-beat punctuatons or seres of quck repeated notes. The accompanment occasonally entered nto bref passages of dalogue or mtaton wth the keyboard, addng consderable nterest. Gradually, as the form developed, the accompanyng nstmment began to take the melodc lead a phrase or two at a tme. The advent of tese short solo lnes eventually paved the way for the trae duo sonatas of Mozart and Beethoven late n the Classcal perod.*' Voln parts began to be marked obblgato (as n Beethoven's Kreutzer Sonata "per U Pan-forte ed un volno oblgato," truly a duo work) and then not at all as Newman. Sonata n the Classc Era, p l%ewman. Sonata n the Classc Era, p. 104.

20 15 the voln graduated from ts role of extraneous accompanment to a full and equal partner. 11 In France from the 1760's many smlar sonatas were wrtten n whch the harp replaced the pano (or oter keyboard nsument), smlarly accompaned by an optonal voln or flute. 12 Most composers followed the lead of Chrstan Hochbrucker n wrtng accompaned harp sonatas. It was not untl Ludwg Spohr's duo sonatas for voln and harp of the early nneteenth century that the harp and voln partcpated equally n the exposton and development of thematc materal. Stvle and Form The Four Sonatas, despte ther late date (c. 1801), are wrtten n what has been termed the "second galant style" whch reached ts peak n the 1750's and 60's.3 The second galant grew out of the earler galant movement and represented a tme break wth Baroque tradton. Instead of the long spnnng-out of a melodc Une, galant melodes tend to be grouped n short two or four measure phrases, punctuated by rests and frequenty endng on half cadences. In each of the four frst movements n the set, the prncpal theme fts ths descrpton exacty. Certan nherent trats of the galant style are perfecty suted to the accompaned keyboard sonata settng. Much galant musc was ntended to nstruct and entertan amateur muscans, partcularly females. One aspect of eghteenth century accompaned keyboard llnewman, "Sonata," p lmchael Tlmouth, "Chamber musc," The New Grove Dctonary. Vol. 4. p lnewman, Sonata n the Classc Era, p. 120.

21 16 sonatas s that they were often wrtten for the amusement of lades or n a manner such that "even a 10 year old grl" could manage to read them easly. 1" Emphass n the galant style s on a lght and ary homophonc texture. The partcpaton of the voln or flute n an accompaned keyboard sonata does not dramatcally tcken the texture, as t s doublng the melody for the most part. When t does break nto three dstnct parts, the texture remans qute thn wth an overall feelng of openness. Harmones are typcally smple wth a predomnance of prmary trads, and the harmonc rhythm s relatvely slow. Gulbert usually changes harmony wth the barune n a fast tempo, quckenng the harmonc rhythm n the drve toward a cadence. Formula cadences abound, the cadental sx-four pattern beng a favorte clche. Characterstc wrtng for the left hand ncludes Albert bass, chordal accompanments and smple octaves. The "murky bass" fgure (broken octaves, usually n eght notes) was wdely used n the second half of the eghteenth century. Broken octaves are the man accompanment feature of the frst movement of Sonata No. 4 n F Maor. Certan mannersms are key to dentfyng a pece n the galant style: dotted rhythms, partcularly the Scotch snap, fequent appoggaturas, syncopaton, the decoratve use of trplet fgures and smple omamentaton such as trlls and tums. Gulbert utlzes all these devces n the Four Sonatas wth the excepton of the Scotch snap. All of the sonatas n Gulbert's Op. 3 are two-movement sonatas. Whle most Classcal composers apparendy favored the three or four-movement sonatas, the twomovement varety appears often n the works of pre-classcal Italan composers, especally Albert and Parads. For that reason, the two-movement format has been referred to by I'Newman, "Sonata," p lnewman. Sonata n the Classc Era, p. 134.

22 17 Jfewnnm f{an THh? 'N?t.?--t m gg Qassc &a) as ±e "Italan sonata." Regardless of the 255JKjpaBmes$ of ns gnrr. the cwo-movement desgn n England and France, as well as n Mly., -w/js cheankrsdc of lghter soacas those wrtten for the student or dlettante, or n he accnampaeec jtsmrd sarrrg. The order of movernents n a two-movement sonata s suauj' Mostoae-Fsz- Fast Fast, Fast-jonda, or Fast mnuet and tro." Slow mdvctnm'cs accsr zszj.. Tbe frst movements n the Fmrr Snnat*; by Gulbert are all n modcraktee* &st mmpm, wfrrte the fnal mdvemeats arc ether rondos (No. 1, 3 and 4) or Tn'mnfff and cn V.NDL 2). Efermonc atd Structural Analyss AH j3f ff fcs nao-ements ra the set are n textbook sonata-allegro form and qute STTrnlKr. Umefenc m. «E be saffoenr OD smy one movanent n detal as representatve of hectbcsbl Segss: N"o.. 1 m B& -laor opens wth a two-measure fenfare-ike statement DnrTnrng le IDEIIC nsrf Hf second part of tfte frst rlrpmt? conssts of arpeggated chords mranc.ard oncrar harmony. A Bb mor scale (measures 9-10) leads up to a bg half.crtffnnf fdl[ka>wed by a lesl The <sevcrnd tfremp- mfcn rmmhttfy (m mpa'rp 1 ) n thp s cffflflc gftnnn rhmrr Tlmnc ce some pfffyyttrt' mrtatons betwea the harp and voln at two MUEasDjc JTmnanolc masdng a 4--4 perod. Up to tha pont, the only harmones used have feem II anad V. Hue Bradgc so the Qoang secton (begnnng n measure 21) ntroduces one (trr mgot mnpttr rfwrnfly ;?mf tyrmt cf-rmmmnn am nvgrnnn nf fhe nperttng- statement of the fnst ftftffttffr "One ClfflPg secton (at measure 33) s comprsed prmarly of thrty-second mnbe -BrrRllrf: aan apgos n the harp, outlnng V and I harmones. The Exposton ends wmn a dwbc odonal sx-foor cadence pauem n F major.. ** n. oa. I'fewnaau Snutata m nbue Qagatc Era. p> 135.,

23 17 Newman (n The Sonata n the Classc Era) as the "Italan sonata." Regardless of the approprateness of the term, the two-movement desgn n England and France, as well as n Italy, was characterstc of Ughter sonatas-those wrtten for the student or dlettante, or n the accompaned keyboard settng. The order of movements n a two-movement sonata s usually Moderate-Fast, Fast-Fast, Fast-rondo, or Fast-mnuet and tro.' Slow movements occur rarely. The frst movements n the Four Sonatas by Gulbert are all n moderate to fast tempos whle the fnal movements are ether rondos (No. 1, 3 and 4) or mnuet and tro (No. 2), Harmonc and Structural Analyss All of the frst movements n the set are n textbook sonata-allegro form and qute smlar. Therefore t wll be suffcent to study one movement n detal as representatve of the entre set Sonata No. 1 n Bb Major opens wth a two-measure fanfare-lke statement outlnng the tonc trad. The second part of the frst theme conssts of arpeggated chords over tonc and domnant harmony. A Bb major scale (measures 9-10) leads up to a bg half cadence followed by a rest The second theme enters mmedately (n measure 13) n the key of the domnant There are some pleasant mtatons between the harp and voln at two measure ntervals, makng a 4+4 perod. Up to ths pont, the only harmones used have been I and V. The Brdge to the Closng secton (begnnng n measure 21) ntroduces one or two more chords and feaures a dmnuton and nverson of the openng statement of the frst theme. The Closng secton (at measure 33) s comprsed prmarly of thrty-second note scales and arpeggos n the harp, outlnng V and I harmones. The Exposton ends wth a clch cadental sx-four cadence pattem n F major. op. ct. lnewman, Sonata n the Classc Era, p. 135.

24 18 The Development begns (at the double bar) wth a complete statement of the frst theme n the domnant Instead of the expected half cadence, however, there s a jarrng leap from F major to a D domnant seventh chord n measure 61. Ths s resolved nto g mnor when the second part of the Development starts n measure 63. Part two s organzed nto a square perod and s smply a workng n the relatve mnor of the openng two bars of the pece. Imtaton between the harp and voln s clearly drawn from the second theme. Part three of the Development (measure 71) s nothng more than fuler materal n g mnor for four bars, then n c mnor for another four bars. A transton to the Recaptulaton follows (measure 79) whch s also bascally fller: thrty-second note arpeggated chords n the harp and smple outunes of harmones n the voun, all over a long domnant pedal. The Recaptulaton s a complete restatement of the Exposton, transposed down a ffth to the tonc key from measure 99 to the end of the movement Nothng s added or changed n any way, other than tonahty. The remander of the frst movements n the set are organzed n much the same way. Prncpal themes open wth the tonc trad outned n some fashon, usually n octaves. As mentoned above, all frst theme areas end abmptly on half cadences. Imtatve passages are typcally found n the statement of the second theme. Development sectons are bref and unmagnatve, often endng wth a domnant pedal as the brdge nto the Recaptulaton. In every case, the Recaptulaton s exacty the same as the Exposton, but transposed. Gulbert's second movements are, on the whole, more nterestng peces of musc. The rondos n partcular can be qute charmng, evokng mages of an eghteenth century soree, wth refned lades and gentemen seekng amusement by playng musc together. There tends to be much more nterplay between the nstmments n the rondos, makng the peces more enjoyable for both the lsteners and the performers. Each of the rondos s n straghtforward fve-part rondo form. The key of the relatve mnor s explored n the

25 19 second epsode n two of the movements. There are even a few short cadenzas to add flavor, as n the second movements of sonatas 1 and 4. The mnuet and tro of Sonata No. 2 s one of the more engagng movements of the entre set Its easy, gracous melodc lne s embellshed wth trlls, tums and grace notes. The harmonc language s smple-prmary trads preval-but harmonc moton s not so lethargc as n other movements. The openng of the tro n the relatve mnor makes a rater nce contrast to the mnuet Summary Gulbert's Four Sonatas can only be classfed as eghteenth century popular musc, of whch the accompaned keyboard (or harp) sonata was an mportant genre. The sonatas were obvously wrtten hurredly and wthout much thought or creatvty. The style of composton throughout s extremely smplstc, approachng banalty n ts over-abundant use of clches and unmagnatve treatment of muscal form. Frst movements, especally, are qute borng n ther predctablty. Nevertheless, they should not be completely dsmssed as trte, partcularly when one consders the very specfc purpose for whch they and all accompaned keyboard/harp sonatas were wrtten, that of domestc entertanment. To that end, they served ther functon well. Gulbert's sonatas can be enjoyable to play, although provdng much more of a techncal challenge to the harpst than the volnst. The Four Sonatas are not an mportant addton to the harp repertore from a performance perspectve. They are, however, mportant hstorcally for several reasons. Dscovery and study of musc such as ths can lead to a greater understandng of what was happenng n the manstream of eghteenth century musc. An awareness of the work of lesser or forgotten composers certanly serves to reaffrm the geruus of Haydn, Mozart and Beethoven. The Four Sonatas are also worth takng note of as belongng to the genre of the accompaned keyboardarp sonata, a vtal lnk between the Baroque sonata wth

26 20 contnuo and the vrtuoso duo sonata of the late Classcal and early Romantc perod. As a manstay n the eghteenth century dlettante's repertore, the accompaned keyboard/harp sonata further represents a unque facet of European muscal and cultural hstory.

27 CHAPTER IV EDITORIAL PROCEDURES The prnted source used for the edton was obtaned prvately from a London bookdealer who dated the publcaton The copy lsted n the new Brtsh Lbrary catalog, however, s dated It s unknown whether the latter s smply a reprnt of an earler edton or f both are of the same prntng. The only other known copy of the Four Sonatas s n the Glasgow Unversty Lbrary Gsted n RISM): however the date of publcaton s not gven.3 No publsher s named on any of the known edtons, but the engraver s gven as T. Scherer, No. 47 Hay Market London. Presumably the edton was publshed prvately at the expense of the composer or hs patron, Madame Arana Egerton. Changes from the Orgnal Score The edtor's am n preparng the present edton of Gulbert's Four Sonatas for Harp wth Voln Accompanment has been to produce a readable modem score, practcal for use n performance yet not overly edted. In de nterest of presentng as scholarly an edton as possble, edtoral emendatons have been footnoted and lsted n the Crtcal Notes. Notes that may be omtted for ease of performance are ndcated n the score by parentheses. Notes and dynamc markngs added by the edtor are ndcated by brackets. Items that can obvously be attrbuted to copyst error have been corrected wthout comment: rhythmc jn a prvate collecton of antquaran harp musc owned by Professor Gal Barber, Texas Tech Unversty, Lubbock, TX. The Catalogue of Prnted Musc n the Brtsh Lbrary to 1980 (London: K.G. Saur, ). Robert Etner also dates the Four Sonatas c.1801 n Bopraphsch-bblofrraphschesOuellen-Lexcon dgr Musker und Muskgelehrten (Lepzg: Bretkopf & Hartel, ). Repertore Internatonal des Sources Muscales. Seres A (Kassel: Barenreter, 1971-), Vol. I, R

28 22 nconsstences such as omtted dots or extraneous notes n a fgure, omtted repeat sgns n ether the harp or voln part, the absence of necessary accdentals or the ncluson of unnecessary accdentals. In a few cases where the orgnal readng s plausble yet not congmous wth the rest of the passage, the edted verson s gven n the score and the change s commented on n the Crtcal Notes. The Full Score The harp and voln parts, prnted separately n the orgnal, are combned n full score. A separate voln part s ncluded n pocket, for convenence. Where dscrepances appeared between the two parts (repeat sgns, dynamcs, etc.), the harp score was taken as the authortatve source. Although the harp part can be performed separately wthout jeopardzng the harmonc or melodc ntegrty of the sonatas, much of the charm that the voln accompanment lends to the peces wll be lost. Tempo The style of playng for these sonatas should be delcate and of an ntmate nature. Long passages of octaves or repeated broken chord fgures wll be rendered more easly and effectvely by playng lghty. Tempos, therefore, should not be too fast, but should reflect the playful, charmng character of these works. The followng table s a suggested range of metronome markngs for each movement: Sonata No. 1 n Bb Major Sonata No. 3 n C maor Allegro moderato ) = RONDO: Allegro «> = Vvace J = RONDO Pastorale: AUegrettoJ-=60-66 Sonata No. 2 n Eb Maor Sonata No. 4 n F Maor Allegro assa J = Allegro maestoso < =58-69 Menuetto J = 60 RONDO: Allegro J = 66-72

29 23 Dynamcs The orgnal dynamc markngs are manly lmted to forte and pano. Very few crescendos and no dmnuendos are marked. Whle resstng the temptaton to contrbute too many markngs to the score, the edtor has suggested dynamcs (enclosed n brackets) n a few cases where none were ndcated. Dynamcs have been added n parallel places between the exposton and recaptulaton when necessary. Some dynamcs have been added or changed n the voln part n order to acheve a better balance between modem nstmments. In general, the voln should not overwhelm the harp, especally n those passages whch are strcty accompanment (measures of repeated eghth or sxteenth notes, for example). Imtatve passages, partcularly those occurrng n second theme areas, should be brought out The performer wll dscover that the character of the musc lends tself to much more shadng and nuance, whch one should add at hs own dscreton, than can be adequately ndcated n the score. Fngerng? Mostfngerngswll be self-evdent to the experenced player. A few suggested or altematefngerngsn the harp part have been added for consderaton. Pedal changes are not marked n the score as the placement of such markngs vares accordng to personal taste. However, the performer should realze that pedal changes n these sonatas wu not be dffcult. Bowngs Very few voln markngs appear n the orgnal. Some slurs and bowngs have been added edtorally to balance or complement the harp part Such addtons are cted n the 1 I I I Crtcal Notes. The markngs f f f f. have been changed to correspond wth

30 24 contemporary meanng: f f f f '* Passages marked n ths manner should defntely not be slurred, but the modem performer has the choce of playng spccato or smply detached. The desred effect should be clearly ndcated to the player by the character of the musc. Ornaments Four dstnct types of omaments appear n the sonatas-the appoggatura, the trll, the Schneller (mnature trll), and the turn. Each of the four man types, along wth ther respectve sub-speces, wll be dscussed separately, lstng general gudelnes for performance. Exceptons to these gudelnes are footnoted n the score and the realzaton gven n the Crtcal Notes. In nstances of a partcular omament beng repeated wthn a movement only the frst appearance of the omament has been footnoted Omaments that are unque cases are also foomoted and realzed n the Crtcal Notes. An appoggatura s defned as any sngle omamental ptch that precedes and s slurred to ts prncpal note. A long appoggatura generally takes half te value of ts man note and s ndcated by a small note half the denomnaton of the man note. A long appoggatura begns on the beat and receves a slght stress. Ex. 4.1 Sonata No. 1, Allegro moderato, m 'Nathan Broder, Mozart Sonatas and Fantases for the Pano (Bryn Mawr Theodore Pressor Co., 1960), p. x.

31 25 An overlong appoggatura takes the whole value of ts man note f the man note s followed by a rest or a te. The man note then takes the place of the rest or te. The only nstance of an overlong appoggatura n Gulbert's Four Sonatas occurs n Sonata No. 4, frst movement, measure 60. Ex. 4.2 Sonata No. 4, Allegro Maestoso, m m" t ' *" '" I 1 m A short appoggatura s very bref and usually falls on the beat thus causng the rhythmc dsplacement of the man note. Recent research n thefeldof omamentaton has proposed, however, that the grace note may sometmes be substtuted for the short appoggatura.5 Because de grace note slghty antcpates the beat the accent falls on the man note. Ths s a desred effect n several cases n the Four Sonatas: Ex. 4.3 Before groups of bnary notes: Sonata No. 2, Menuetto, m \Mf VJ rr rm- g r rf - M I 1 "fl % { { { {.{. Frederck Neumann, Omamentaton and Improvsaton n Mozart (Prnceton: Prnceton Unversty Press, 1986), p. 42.

32 Ex. 4.4 Before sngle notes: Sonata No. 1, Allegro moderato, m Ex. 4.5 Before repeated notes: Sonata No. 1, Allegro moderato, m. 14 Kf k jm >f EL Ex. 4.6 On upward leaps: Sonata No. 3, Vvace, m. 15 fe Gulbert s ambguous n hs notaton of short appoggaturas. One must aurally determne the ntended effect In every case cted above, the orgnal notaton (small eghth or sxteenth note) has been replaced by a grace note symbol ( / ). The changes are ndcated n the Crtcal Notes. The appoggatura n a scale formula, shown below, s preferably realzed as four even notes (equalzaton).

33 27 Ex. 4.7 Sonata No. 2, Menuetto, m ff Jn 1 * : [d H; # There are dfferng theores as to why the appoggatura was not smply wrtten out n the Baroque and Classcal perods. Long appoggaturas often formed dssonances wth the bass and thus would not be wrtten on a strong beat. Because contemporary performance practce allowed for the mprovsaton of omaments, appoggaturas may have been wrtten as small notes to denote ther functon as omaments and as a warnng to the player that no further embellshment was to be added. For these reasons, and to preserve the ntegrty of Gulbert's orgnal pubucaton, all appoggaturas are ndcated wth small notes. A trll (:fr ) n ths edton wll generally start on the upper neghbor. One notable excepton occurs when the trll s the frst note of a pece or of a new secton, as n the Tro of Sonata No. 2, second movement. Another excepton would be when a trll occurs on a fermata or when an appoggatura trll would dsmpt the melodc flow. A trll wth a wrtten-out appoggatura should n every case begn wth the upper note. Ex. 4.8 Sonata No. 1, Allegro moderato, m. 32 mtj

34 28 Trlls may or may not end wth a tum, dependng on performer preference. In some stuatons, t wll be more approprate to play a mnature tru (one or two altematons only) where a regular trll s ndcated. Such nstances are cted n the Crtcal Notes. Gulbert uses the chevron (w ) to ndcate a Schneller. a mnature Ull of only one altematon (often referred to as an nverted mordent). Ths type of trll wll always begn on the man note and wll be performed by quckly altematmg man note upper note-man note. A tum conssts of three omamental notes that ether descend or ascend and whch surround the prncpal note. Gulbert ndcates the tum by the symbol («) or, n a few cases, by wrtten-out notes ( **»f ). The realzaton of trns vares wdely n the Four Sonatas: therefore, t s more expedent to handle each case separately n the Crtcal Notes. The rale concernng omaments n the Classcal perod s that there are no hard and fast mles. The task of the modem edtor (and performer) s to examne each omament carefully to arrve at a soluton whch s stylstcally correct as well as aesthetcally pleasng. An excellent reference for eghteenth century omamentaton s Frederck Neumann's Omamentaton and Improvsaton n Mozart. The book s useful especally for Neumann's dscusson of dverse theores of omamentaton, both hstorcal and contemporary. Idomatc consderatons must also come nto play when nterpretng omaments on the harp. Omamentaton should be executed as cleanly and precsely as possble wthout obscurng muscal contnuty. Fnally, the techncal abuty of the performer wll determne to a large extent the speed at whch an omament s to be executed. An edtor can merely suggest possble solutons that work n partcular muscal stuatons. The performer, n the op. ct

35 29 end, "cannot escape the responsblty of [hs] own artstc judgement,"' tempered by knowledge of the practce at hand. Neumann, p. 5.

36 SELECTED BIBLIOGRAPHY Broder, Nathan. Mozart Sonatas and Fantases for the Pano. Bryn Mawr: Theodore Presser Co., Claghom, Charles Eugene. Bographcal Dctonary of Amercan Musc. West Nyack N.Y.: Parker Publshng Company, Inc., Etner, Robert. Bographsch-bblographsches Ouellen-Lexcon der Musker und Muskgelehrten. 10 vols. Lepzg: Bretcopf& Hartel, Loft, Abram. Voln and Keyboard: The Duo Repertore. Vol. I: From the Seventeenth Centurv to Mozart. New York: Grossman Publshers, Neumann, Frederck. Omamentaton and Improvsaton n Mozart Prnceton: Prnceton Unversty Press, The New Grove Dctonarv of Muscal Instruments. Ed. Stanley Sade. 3 vols. London: MacMllan Press Lmted, The New Grove Dctonary of Musc and Muscans. Ed. Stanley Sade. 20 vols. London: MacMUan, Newman, Wllam S. The Sonata n the Classc Era. 3rd. ed. New York: W.W. Norton & Co., Inc., Rensch, Roslyn. The Harp: Its Hstory. Technque and Repertore. New York: Praeger Publshers, Inc., Repertore ntemaronal des sources muscales. Seres A: Enzeldmcke vor Kassel: Barenreter, Rosen, Charles. Sonata Forms. New York: W.W. Norton & Co., Inc., Wolfe, Rchard J. Secular Musc n Amerca New York: The New York Publc Lbrary,

37 APPENDIX A LIST OF WORKS Songs Arbre charmant A favorte French song. Wt Englsh words. Poetry by DeFloran. Charleston: J. Seglng, 1819 (?). The favorte song Arbre charmant Wth varatons for de panoforte. Phladelpha: Publshed for de autor by G. Wllg, Twelve Englsh songs. Wth an accompanment for de Spansh gutar or lyre. Selected and arranged by Eugene Gulbert. Phladelpha: J.G. Klemm, , The love s warm awhle. Wd varatons for the harp or panoforte. Phladelpha: Publshed for de autor by G. Wllg, 18-. Relentless love. Phladelpha: Publshed for de audor by G. Wllg, Sx romances d'estelle. Mses en musque, avec accompagnement de harpe ou forte pano. Ov. 10. Charleston, Carolne du Sud, chez I'Auteur, Pars, chez alexs Eymery, Lb,; Bourdeaux, chez Gassot Sne, Fosses de I'lntendance, Harp Ouatre sonates pour la harpe avec accompagnement de volon. Ov. IH. London: n.p. (engraved by T. Scherer), n.d. Tros sonates pour la harpe avec accompagnement de volon et basse. Ov, V. London: Publshed for the author by J. Dale, n.d. Concerto pour la harpe avec accompagnement de deux volons. alto, et basse. Op. Vn. London: PubUshed for the author by J. Dale, n.d. Manuscrpts VI Are e Duett per la harpa. Ms ,13, Osterrechsche Natonalbblodek (formerly K.K. Hofljblodek). Gulbert's mass. For SATB and organ. Charleston, S.C, c In the New York Publc Lbrary. Ms. collecton of peces for the harp by Eugene Gulbert and F.J. Naderman, In the New York Publc Lbrary. 31

38 10 J: So. 26. APPENDIX B GUILBERT'S LAST WILL AND TESTAMENT CHAHTJSTOT SOmS CUBOLIXl. Za tlm Xua Qt thn Itost Holy Trnty, Tlw Tath«r, Tha 8«a and Xha loxy Ghoat Mn. Z Zu<ana AaAza uj Ottlhartt * aatra af Ba4rA a tha Sngloa or Spaa aaa aaw Ctsaa of tha UataA Stataa of aaroa, baag SouU la boy aad a Judcaaaat, Aaolara that ahat follows a ay Toataaant * tha azprafsoa of ay last Vll aad that aay Tostaaaat postarar to tha data of tha praaaat ona '"" 'T ha Tod aad of ao affaat. Vr fuaaral Shall ha daoont and athout ootontatoa. Ify dobts Shall ha pad, thay aro rodaead to Tory llttlo aad do aot aaouat, at ths taa to taoaty Dollars. Vo thne a daa te aa by aay parsea. ll that Shall ba found to boloag ta as, at tha hoar of ay doath. Shall ba Sold aad tho proaoads of tha Bala, togathar wth tha aonay whoh wll bo fouad a tha Baak af tha Stata of South Carolna, Shall ba dotdod a four oqual parts * dotrbatod as follows) St. 1 Oaa fourth Shall bo (raa to ar balotod laughtor Xocaaa Uohal (wfo of Traaos Hohal, so that Sho aay oajey t a Abaalata rt, darag har lfa, at tha and f whah tha Sad faarth Shall ba dardad a tha fora af tab* ttatoa to har ohldraa. ad. 8. da aqual fourth Shall ba gran to ay aa* lotod dasghtar daaaaea OaUaaa (wfa of Potar Oulloala) So that Sha My aajay t, a abooluta rght, durng har lfa, at tha and of whah tha Sad fourth Shall ba dordad n tha foza af Sabattataa to har ohld or ohlldroa. 3. a oqoal fourth Shall bo gton to ar M BoloTad daaghtar daa 7aata (wfo of Xngoaa Taata, to that OM aay «a4oy t, a absoluta rt, darng hor lfa, at tha and of Hoh, tba Sad foarth Shall bo do-rdad n tha fora of Sabattataa, ta har ohld or shudraa. 32

39 th d. Oaa aqnal fourth Shall ba gltoa ta ay BoloTod dantar largnarta Baary (wfo of 8.. Eanry) 33 So that Sha aay anjay t, n abaolnto rght, darng har lfo, at tha aad of whah tha Sad fourth Shall ba datldod n fora of Sabattataa ta har ahld or ohldraa. Z doolara orootor that ay four Oaoghtars ar-. m aaly * Sola ha Ira aad that Z wsh that thay aay aajoy what Z gra thaa by tha prooont TaataMnt a parfaot ttfu and aa praparty balongng to thaa, wlthaat balag faroad ta pay tha dabta oontraat* od by thar praaaat 9T fataxa hasbaads. Xhay My oonsnlt and oenf or wth thaa oa tho aoaas af aaalaxatlag tha lot of thar ohldraa aftar tha daath af tha aathar. 2* aay no of ay Oaaghtars Shaald loaa har haabaad aad Shauld hara tba folly to aarry agaa, tho ohlldroa bora froa tha Saooad arrlaga aoald aat la aay aaaaar * aadar aay pratanaa, taka part la tha Sabattataa of tha ahldraa (bartt) froa tha frst aarraga. Zf ana ef ar Oaagbtors Should de wthout f sao SarrlTlag Sha aay la ths oaso alona dlspeoo of tha fourth whah Sha has roaaltad, a farar of whoa Sha ploaoaa, but t Shall ba by Tastaaaat. Thay Shall thaasaltoa glta roloasaa ef that whah thay wll raoolro froa tha Szaauter and thasa ralaaaaa Shall ba entre dlsahargas to ha. X boaaooh ay Seas la Zaa to aajca ay Saaghtars hpy, as far as t wll ba la thslr power. Z eoaatltute poat aad naao ay frload Zoals Vafselalgua ta ba azaeator of ay Tootoaeat. th Done * wrttea eatlrely by ae tha day d. Seooaber 18SA. Charlootoa Soath Oarelaa. Z beloto that Z hato doae ay duty, so aaah for these lae de aet falfu thers. «domum (Z. s.} Slgaed aad Sealed a preaenoa of Vtnofsee nuo Jong. J>».o Traaor 'Tf W, Trered before Thoaae Lehre T. S. oa the ZIoTonth dar of Tehy as«. dt the Saaa tlm qualfed Loula Vafoalalgae Xxer. Xxd. by T. L.

40 PART TWO FOUR SONATAS FOR HARP WITH VIOLIN ACCOMPANIMENT, OP.3

41 - Dedoe.. a.u lref-loo'al)lc o.vlo'.. t MU L p.,. D ];» Y. s 35

42 FOUR SONATAS for THE HARP Wth Voln Accompanment Dedcated to the very honorable luladame Arana Egerton by EUGENE GUILBERT 36

43 voln FOUR SONATAS FOR HARP WITH VIOLIN ACCOMPANIMENT. OP.3 Allegro moderato C J = J 1 SONATA NO. 1 Eugene Gulbert C harp J- m 'HH 5==S=5f * H:?N?r \* ' ' * 1 S crescendo m =F=? crescendo m 9 a 111" 37

44 38 I?V*.1* JV m sszzzsjtzzs: /» j» /I* /» Mllllll ± TrT.Tr 16

45 39 m ' 'I K' * / m s gt - t'n a I*» *- I* - ~» *-.jt Jh?frrs

46 40 m I ffj.rrj- I'lr g j'' r 34 (crescencyq] s.» * - (crescendo] ggsl, *JgS. ",*,!»,,», I 'rlr 1

47 41

48 42 r r rr r r rrrrrr m, m gjtf \r r r r r r rz ;pj S?=L m 46 C] J J J J J J J J JJJJ Jjjjn J s s* * s 55fS=«= 1 53

49 - I ' 1 43 I I I I n : M» # -* # ±=e: J * S * J I I J M * J I * :j-r--g 56 TJZI w #:*! crescendo 'fffll m rnrvt mt & 4 f jj**r y-nr I ' I - g crescendo W f- 4):,I, f m F r r \ I L, 59 r IX=s --s 'r'f L B TT /

50 44 I m.vl-rt f f * I *- 0-0' 4 f crrtrf -T»-r- 71

51 45 m 1 m M J J J # * -» - 74 I*' ' :'n 80 V

52 46 83 crescendo escendq jjvjjrj S M / j.» * -r g»»» r -0 w W-

53 47 --W-m P crescendo crescendo " _ M 0- V 3C 95 -* *- [fa [ *-]' rj*r

54 48?=? f jr R» =h»» h >. J Tr [ 107 [/] r fe> [/] =&: f-rff rlf rff

55 49 r r 113 m

56 50 I.f»»»»mm»-m- Tnrm :-AM J* w M u*tf

57 51 I f-rfrrf-f-f:- f-f-fr-f-f-f 5 [ y' mf'm., 131 [/]' ej- jr f-»,\ 0 0 % CK] CW f-f-rf-f-r m rs 0. fe \ -0 ' \ 0\\ \» '"""' 1'' ':%0!;I' t3«w r r t c;*j [ *5

58 52 RONDO I AllegrotJ=69-76j Allegro I g pp h. X ' 1 t J J. A. s V t> I m # S /»? " - 4 I 2- P".r »r

59 53 I d ~* W m t ' m 13 «s P" J J * J J' 3 ] J * 3 '0? I Fne rs /CN * y Fne V \y * J'\ ' * HTH; S 17 f a t * m F r 0 jt: m = fc W 21 m

60 54 J-* S m m > J # *.. \> r Ir 0 >* 25 s f 29 m-m )j * j ' ' r rff» > -0 't => 0 F» 'lln I 33 3g

61 D:* m 3C3E~B=a r-» W 3e=!E3rz.».» *]. Ddracac =1-3> :J) I mn

62 56 \ r» - P A. I * - m» m 3lp= * *-"5 / S H j s: : ±Z -1 ' 1 1 ' -T ; ' #' «~9 # -m *- TF-.S3! je» m 0. m 0 # P>- C>/ y=re= 3C3C j»g»- 5? 5 - *:.x: zpr V

63 55 mm 0 4> 0 0» 0 0 f 0 rf] r-r] m '' OJ [s m.rtl r\ y 8) 9) 41 -* L#! VC >p

64 56» & - 49 m. mm. -- * H : / rp - S I 7» JJ? # T» *Sr m I. S3 s '*~lg' P 0 I 3= I 1J = 57 = P

65 57 w mm 0 d 61 w # :?z I m / j j» / P HI' f'?»l/h» P? 65 I d f f m / r. zf -."K:? 69 w

66 58

67 SONATA NO. 2 Allegro assalc J = ] vn. hp. Allegro asa ZZ r, z_ S * :2 m. m # * 0 fr 0 0 T 0 0 ' 0 -* r - I 0 0 d m 3 TT 3 - *---* PP -0rjt. -* * «0- B # # * #_ #, )

68 60 I m. I # J. _r j>4... ]> (k\ I' s > J).. >.,. f 1 I 1 S I js h : =!: (r) :>» V 'f 4.'j) fffff-f s HMM rrfrfrf rlfff'f" 17

69 61 H'' "'r r 'LU : J E : SI ffff-f 20 LJ r t S _««_ 23 'I' L.> [> J 7 r r a

70 62

71 63 ff y f 7 * d g 41»-(r4 59-5=p a S 45 :fe f ±0 CD fj ff '* *- S e* * J n / # * * "* r

72 64 W' jjjjj: 0 m- PP «y w V hv jy hv JN J: S HT 6 48 r~"t IPI [ 5-J : [-Tl j» # I * w * 0 % w e- -«- *.r; -* *- 54 W J.

73 65 63 af f % % f=f m M m E m

74 66 I W m f P f f 66 s? S 70 T 1 r ac3c=3e: #_ < S 0 0 P z: j-ar-jr-*--*--*--*--* ly'-jjjj as 7 g 7 S 7 M d:-d Kpr-0., j).....!>., 7 g 7 >7 g 7 * ]#: #- je- 73

75 67 I ff '4VtJ A mw m :a 0 F 0 r r r r r r 0. 0

76 68 a I'l, r- F r ff J'f > 2 * '>" r r f r r 85

77 69 II r ; - I a knz: * f4 97

78 70 MENUETTO Poco Lento CJ= 60] 1 P I Poco Lento -ft- >3) m vaz! 14) > =«-mf- -H- JC 0- _F 0 F _F- 0 \ ] - 0 \ I P 0 0 J I! ar± 3 p 0. 0 «- rg JCX,? I 15) 16) 17). *.«*f 1 a pp "zy r =±!; J >! >

79 71 m 13 M m 0J 0' * 5 y-r u-j' <* r f- r * fe sr fe m 18) 0 J *? 17 «F- * 0 0- P P 1 r _(2_ -l9- -«-_ I * 0 Se b# r #-,-* 0- m\ rr J::!

80 72 P? = nnr xa rrs? =? 25 I X I 2. I S P 1 =?"S3C krfrrr. 33 g f. f «-

81 V- 37 ' m00 f Cff' L r? s t- =r P IT) d-'0--0- I J : 5 cy s BSeE St m -* r\ ZZ21 W" w * a =2: Fne * Rne c/

82 74 TRIO g p f r *» + t t

83 75 1 tm -0.- M m SEE Ar u m -F~0- m 61 m m 65 s w d =r 0 } 0 P Jz * _ # 3C S ; j? [ 4=f 20) O ffl / :HII f r r r-r /CN S H I L I 5 I V/

84 76 * m m * p 73 m w 77? * p S P r F 0h. D.C. al Majore D.C. al Majore

85 SONATA NO. 3 Vvace [J = 66-80] I?*a r r: r r m w m m m H \- P C r C & = & *::=t 3 T } f: r 7 L L 0 11

86 78

87 79.. I h 0 b 0 B J 0 19

88 80 m 0» 0 0 tta 3? rrrfm. 1 P I kfk/'q m 31 ;,Hv J J J Jffr 34

89 81

90 82 tj U [ s 1 S 49 ftp- P -««- fcs fe felrtftrfftrgrr WW -* TT &= Lf] [ffr?- '=K 0 0 *P f f Ifc :«=«= 3 52 P f

91 83 IV ' ' -- AK " m ]W r r r \. Y r kj ' J»' f r. r -It 0 fr r U r h r, F t=. 0 L -ttl d 1 _, J «J r r f r -L» L J J J J J J J J m 0 P fe= 58 r r. r. ff -* F ,' r r r S' r. ;

92 J I I J d 0 0 -r

93 85 I F g I f A #_ r-#, ne I 0 0»< m 76 # k t p,.<ff>.

94 86 m Jl J S -M «_ s -r* L!»- -1* *- &U:J 82 t frr r M M m 0 nfn 0 r

95 jj- jj.. jt M ff SE f l l r ''t.h.h f <r <p 94?» j j g f f prrv,; >r ft±

96 88 U rrrrrr s 0 0 f d 5S ;..f?. 100 p U" u S: r vf r f * J g *-,!» * * - J'J!7'. -«0- J

97 89 RONDO Pastorale Allegretto [J.= 60-66] Allegretto 5 S pp ffl 0 " s f?, 0 0Z -0 «0- = j }> j t / tm

98 90 IP f -01. I s m 16 c- DJ

99 91 m I I s p M d d J. 1 3 T» p~ 19 C [ I' V, n. J. 4M"J-' 7frfrr?rfg >».» 22

100 + H H 92

101 93

102 94 Mlnore [!«k r PV V P I f ; '. -5b- m -2 p- 49 a [j m * -Sf 'r?

103 95 55 CJ- o

104 96 Majore ('' rrfr 64 V W p 0 m 70 F- tt / /

105 97 m 0 * m

106 SONATA NO. 4 Allegro Maestoso C J=58-69 ] s A d d d- d d 0 r a m TS Z 0 * ' \ f nsz 98

107 99

108 100

109 101 1 p I =: w ') -[ V r r r - 28 v.rrv? w m -r- - =5t* fcm "h J r 31 3 * 0 V -F-10-

110 102 {h \ H

111 103 W» -9 PP / 1* f '3 3 3 fl 49 D W

112 104 7 J J J m * TTT r m 32) 61 [JJ CllJ w *

113 105

114 106 DJ3TQ3 a n

115 107 W'ln' m 82 'Uj-yj''yj = w T p m 0 0 r w

116 »- 0 0 * g=g= fe P

117 f..nf mftr t p= / 1=3 1 fe p -4=H= 103 S 1 r ± n 106

118 110 'TTnT I flt r g4?-5= jjrrjar r; %? '> JM-U": -<s- I J J

119 Ill RONDO Allegro [J = J

120 112 w fff Fne 0 00' Fne 'H dlld 13 \/ IP p LT» 0 17 s M-l-4 L r g a»? tll I I j=t 21 1 m y -

121 113 : P.L fl r \M\ M 33 L rr r -*- *

122 114 fc B » 0-7 I I H- & 1>- :t?= H 41 "1 I r I I 0 I # '# I * I y 0 \ 0 \ 0 \ 0 1 * * - 34) : g k- =F I J!_ = l.j IJ I \d * J * P* J * P 45 ' ' ' ' -0 : V> P-»- 1 1 f- JIJ U IJ I I I I J!

123 115 r\ ad lbtum ad lbtum r m 49 VC/ V/ /0\ *X' j d 35) t)- rtstrp s 53 0 F- & r r g m m I " ' * *' -* F-Frrr I fe 'hrjjt'jr] m 57

124 116 1 ' f 'saml 61 P fl fl! s s :a rdld 65 # 35= I Mlnore f yj [Pj w f p 69 1 *

125 117 I P {p (MfVrr- tt 77 f J j 'rrru 7 C/J _C K * K 0 / B 7 * * 7 =5= P P f f f fe trrrr r p p 81

126 118 I m M IJJJ.JJJJ jjjuijjtp 85 D.C. al Majore D.C. al Majore 89 V

127

128 CRITICAL NOTES SONATA NO. 1 1) Orgnal has 16th note appoggaturas throughout ths passage. 2) Allegro moderato, m. 16. Played: I m=amj 3) Allegro moderato, m. 32. Played: m f } 4) Dynamc markng lowered for better balance. 5) Allegro moderato, m. 69. Orgnal: y XA 6) Orgnal has a D#grace note, whch would sound enharmoncally wth the Eb. 7) Man note trll. 8) RONDO AUegro, m. 43. Orgnal: : -8- " V 8 119

129 9) Orgnal has D.C ) Orgnal spellng: at lbtum. See also: cadenza n Sonata No. 4, second movement SONATA NO. 2 11) Allegro assa, m. 9. Orgnal: (Occurs also n m.73 and n m.72 n the voln) =S=g IZ& 22= 12) Allegro assa, m.49. Orgnal: t'fljellj 13) Menuetto, m. 1. Played: 14) Orgnal has 16th note appoggatura. 15) Orgnal has trll nstead of tum. See also m ) Orgnal has tum nstead of appoggatura. See also m ) All slurs and bowngs are edtoral. 18) Ths s the only repeat sgn that occurs n the orgnal. All other repeat sgns n ths movement have been added edtorally.

130 19) Orgnal has D.C ) There are no grace notes n the orgnal voln part. Presumably, the player would have added them as a matter of course. SONATA NO. 3 21) Vvace, m. 13. Played: * ft 9 p m 1 22) Orgnal has 16th note appoggatura n thsfgurethroughout the movement. 23) Vvace, m. 16. Played: t 24) Vvace, I m. 18. Played: 25) Orgnal has 16th note appoggatura n thsfgurethroughout the movement 26) Vvace, m. 86. Played: $ J-. : m f 27) Vvace, m. 88. Played: I JL. m

131 122 28) RONDO Pastorale, m. 46. Orgnal: I W s f: m 29) RONDO Pastorale, m. 57. Played: h f Lg :Sz D:: O" O' m T-0 0- = 30) RONDO Pastorale, m. 78. Orgnal: & 'J' J-L I SONATA NO. 4 31) Allegro Maestoso, m. 60. Played: ffg=f= F g?

132 123 32) Allegro Maestoso, m. 61. Played: 8=» P 33) Bowngs n m are edtoral. 34) RONDO AUegro, m. 46. Orgnal: I 9 35) Orgnal has D.C.

133 FOUR SONATAS FOR HARP WITH VIOLIN ACCOMPANIMENT, OP.3 Voln SONATA NO. 1 Eugene Gulbert Allegro moderato [<! = 58-66] P c m f - 1 I I I M 1= crescendo 10 jrpf- [/J *' * I 15 ' ttmz > y h0 - W' 19 / r -

134 FOUR SONATAS FOR HARP WITH VIOLIN ACCOMPANIMENT, OP.3 Voln SONATA NO. 1 Eugene Gulbert Allegro moderato [«' = 58-66] m c Jr-JrU f P g.g.4 JTTJJTTJIB U crescendo hm 15 * *., t s *» *a m 19 m -0 *- 22 fe;. rrr m

135 m 25 tj''' r L'r J I r m [crescendo] TJ.rfj- I'If 37 L [.hrf 1 pfcc escend6\ 40 [jll'f f f f f -# 0-48

136 p B' j7~j.~r~j l 1 54 I 57 J J J Jjj.J IJ J J J J J J J Nj Jrr crescendo m / r» F r F ' -0 <=-

137 m * 0 0 ' 0r * d 0 A I'A 83 [crescendo] [fl crescendo K'''I [rr * ar- 96 r/j

138 99.J0 '0.0 J I t 103 [j'ls \rm t '"' [f] 110 C te.'c'-....i'l/ 1 X [_crescend6j

139 » r r r r r r r=-f-r-~ r r r r r r P 123 {.7 d d d d d [crescendoj 130 [ r f f r,rrf-rf-rrr-u J u 133

140 SSSKs" ' RONDO Allegro [J-=69-76] I /,J J'J J, IJ JJ j, IJ J J - J J zjg m -0-' 13 * mm J IJ y. r\ Fne 17 * p f! I 21 '±M1 25 d d d I J. # TT-*- ff' 29

141 33 -P--»- m 37 m m I.m rn I m rr d d d d d 0 d d d d d 0 d 0 d [«41 r\ '' J J' I > IJ J'. j. I,T] TT] 53 f {j -'J l J'J JTJfl » rzr = ~» mm [-n 61

142 65 J J J I J- / p f [fc 69 d d d f / I w 73 JP "27 Smorzando I r\ te D.C. I

143 10 SONATA NO. 2 Allegro assa [J= ] f rr 'UJ If r r -' p P r " ' / PP jt jfjli*."??? ll _P n I I I I I I r" r~r'"n c"t" "" r*" t JJ4JJJ.lLWJj'.yJ4j «'j' ' ' 'nf 19 p) r r 'UJ c 7* S W~ B'' p- p 1' ' p 22

144 11 25 I J I -* --* jj I ff JjJllJjJl I 28 r tr r '1,' ~,rn -* 31 H*- S P P 34 * Sfr- -*-?- P 37 W \ * P 40 / f

145 ! 12 ll' J J J J JTJ] IJ J J J 46 PP t'' J P p '# 49 S2 / 55 / 1=f -«&- [P] ( # 0 0 m 61 [ 64 f s 67 / 'LU If, r r a

146 13 r#>,, =t=j== PP 73 d--d--d--d- *- *- *-»- 76 / =2z: -* # -I f = : p 85 (f'lj 88 #, f p I p l-jl I,,~t llj -<> *:: r rx 91 S fr

147 14 P? P m J f J 7 3t:=z 100 m "f r F 0 *f d J. / -S-

148 15 MENUETTO Poco Lento C J= 60] s 1; m s m 6 d -P- d d ' : g 0d0- PP KJ I'f -;jro' '[' T 11 1 W'' f p 17 * -0 P r r If m J \ 1 u

149 16 X gvgrj'tn F ( S 37 I =2=3 -d ' Pf- ;''u;jjj2 * SI -CN Fne TRIO IS''''- HM 49 / V' * [ 53

150 17 P * S7 / v_- T.n "OW u r>3 IS'' J' jj 11 m 61 p 5 65 "X37" r\ / V-' Sr fe a P nl I n 77 \_y J. 1 '.jjjb D.C. al Majore

151 W. J S, 18 SONATA NO. 3 Vvace CJ= 66-80] M 1 / m m Ita LM'wrnj ',j : ( 21 frr I r tr 0 0 fr n-rrr- rrr' F 0 \:... \ lqf\ dddddddd F*Fdddd ' * * * 25

152 19 m JJJJJJJ Irr 29 / 0 d d 0 -zs- {I JTn-l.?lJ:7Jnv 0 0 0'0~ 33 m m a- #' 37 [VJ 41 -J-L--UL A J I h P I I 45 J I II I I 5 {(jt/jtjjttj ( 53

153 20 I d \ \ 1 1 r- [ dd ddd 61 m m! 65 g J n I J' g 69 I h V > ' r I *- 0 0 ~r ( 73 rrrrrrr I p v I mf. If'' I al!'[b' I r[. I 1 81 f _«

154 21 85 r (\J I fel L_; 7 89 m m I 01 / 0 (T. # # DDE SE : I I * * I 105 <B c: > fffjjjj I Jjjg -#- 1 -*

155 22 I RONDO Pastorale Allegretto [J.= 60-66] -j I I' I m 8 nj. kju 7]Q] r: 10 I t-mhh- 15? S 20 * 24 " S 3fc- - m 29 /r\ 5 33 /.k m. L_tf m.

156 ] I J, J M,m Mnore 48 CVj r * * k P! n 1 r ly'fp FrrrMV L'Nj 52 f 57 -r g±:y * m 00 F F' lu 0 0- P m Majore 7 I 72 Hrrj..r:,rn ;?==* * ' * B.m..aj

157 HMSpfpf 24 SONATA NO. 4 Allegro Maestoso [J= 58-69] 8' ;' 1 J P w f - d d- ''jol Mjll' 13 J t & P --W 17 / 21 / It Tr I SL tttt 25 J>p :1*1*'J- t-

158 25 8'''fflj ff ! I ' 33 f J f» I g g?z: « *» ( P m F I 49 / CfY r r D'ln B S ( # I» d

159 26 57 P P J 1-1. S m zg- 61 m -t-j-j-j I ;j 65 za. J'0'0 <' I * * ' 8 jjjjjjjj»jjj] I (' H,1 69 / J r «P 8' [f I [r =p= 73 / g I I I I H J 77 rjlj \ hrlo 3C: 81 m ( P [ r

160 27 go J lue 85 r/j a [fe'' -JJ JJj' "rr 90 (I J h- 94 ={] lp * * > 30( -Uj-j-j -J I < I #1*» r 0 0 r r 0 T=P ffnr Tr* H 102 =fc3c ( 107 m g.d=r # / # 35e 8' [j'' L:C 111 -*H* 8=

161 28 RONDO Allegro l= 66-72] s j.r F IL-' m \) I f) I r- Ten e J I I 1 I -» 0 0 d 0 0 r r f J 8 - n 13 /CN Fne m p 17 8J Q 3=E TT- 25 te 29

162 29 m 35 pa 41» I I -0- r-1 --_ r\ >' 9J 49 m 53 (-p3 ar lhtm * H«-! ' I I h I [? * y 57 61

163 30 ff'n r:r_rr r r 'r 65 Mnore Tm m m f\ 73 pe pjt]1r r f nqtt" 77 C*]? I evtj- ff s [fl [P [fl [fe y r f 81 ( ff * I * 86 v_y / D.C. al Majore

164 Fold out

RIAM Local Centre Woodwind, Brass & Percussion Syllabus

RIAM Local Centre Woodwind, Brass & Percussion Syllabus 8 RIAM Local Centre Woodwnd, Brass & Percusson Syllabus 2015-2018 AURAL REQUIREMENTS AND THEORETICAL QUESTIONS REVISED FOR ALL PRACTICAL SUBJECTS AURAL TESTS From Elementary to Grade V ths area s worth

More information

Instructions for Contributors to the International Journal of Microwave and Wireless Technologies

Instructions for Contributors to the International Journal of Microwave and Wireless Technologies Instructons for Contrbutors to the Internatonal Journal of Mcrowave and Wreless Technologes Frst A. Author 1, Second Author 1,2, Thrd Author 2 1 Cambrdge Unversty Press, Ednburgh Buldng, Shaftesbury Road,

More information

Following a musical performance from a partially specified score.

Following a musical performance from a partially specified score. Followng a muscal performance from a partally specfed score. Bryan Pardo and Wllam P. Brmngham Artfcal Intellgence Laboratory Electrcal Engneerng and Computer Scence Dept. and School of Musc The Unversty

More information

in Partial For the Degree of

in Partial For the Degree of 37q h8( sta. co AN ANALYSS OF ROBERT NATHANEL DETT'S N THE BOTTOMS THESS Presented to the Graduate ouncl of the North Texas State Unversty n Partal Fulfllment of the Requrements For the Degree of MASTER

More information

QUICK START GUIDE v0.98

QUICK START GUIDE v0.98 QUICK START GUIDE v0.98 QUICK HELP Q A 1 STEP BY STEP 3 GLOSSARY 2 A B C 1 INSTALLATION 1. Make sure that the hardware nstallaton s performed by a certfed vendor 2. Install OTOTRAK app from Apple s App

More information

THE IMPORTANCE OF ARM-SWING DURING FORWARD DIVE AND REVERSE DIVE ON SPRINGBOARD

THE IMPORTANCE OF ARM-SWING DURING FORWARD DIVE AND REVERSE DIVE ON SPRINGBOARD THE MPORTANCE OF ARM-SWNG DURNG FORWARD DVE AND REVERSE DVE ON SPRNGBOARD Ken Yokoyama Laboratory of Bomechancs Faculty ofeducaton Kanazawa Unversty Kanazawa, Japan J unjro Nagano Department of Physcal

More information

V (D) i (gm) Except for 56-7,63-8 Flute and Oboe are the same. Orchestration will only list Fl for space purposes

V (D) i (gm) Except for 56-7,63-8 Flute and Oboe are the same. Orchestration will only list Fl for space purposes Measure # 1 2 3 5 6 7 8 9 10 11 12 13 1 15 16 17 18 Intro Motve 1 A Motve 1 B - "Wakarathe" Dynamcs mp terraced dymancs to mm.7 p Moderately fast and lght (quarter=96) 3 G Mnor motve 1 con't mp melody

More information

Appendix A. Quarter-Tone Note Names

Appendix A. Quarter-Tone Note Names 233 Appendx A Qurter-Tone Note Nmes The followng tble lsts ll possble note nmes, rngng from double flts to double shrps, for ech of the 24 possble ptch-clsses. Enhrmonclly equvlent note nmes pper on the

More information

Five Rounds. by Peter Billam. Peter J Billam, 1986

Five Rounds. by Peter Billam. Peter J Billam, 1986 Fve Rounds by Per Bllam Per J Bllam, 986 Ths score s offered under the Creatve Commons Attrbuton.0 Inrnatonal lcence; see creatvecommons.org The copyrght owner remans the composer, Per Bllam. Ths edton

More information

tj tj D... '4,... ::=~--lj c;;j _ ASPA: Automatic speech-pause analyzer* t> ,. "",. : : :::: :1'NTmAC' I

tj tj D... '4,... ::=~--lj c;;j _ ASPA: Automatic speech-pause analyzer* t> ,. ,. : : :::: :1'NTmAC' I ASPA: Automatc speech-pause analyzer* D. GERVERt and G. DNELEY Unversty of Durham, Durham, England ASPA: The Programs Snce the actual detals of nterface samplng, dsk storage routnes, etc., wll depend upon

More information

A STUDY OF TRUMPET ENVELOPES

A STUDY OF TRUMPET ENVELOPES A STUDY OF TRUMPET ENVELOPES Roger B. Dannenberg, Hank Pellern, and Istvan Dereny School of Computer Scence, Carnege Mellon Unversty Pttsburgh, PA 15213 USA rbd@cs.cmu.edu, hank.pellern@andrew.cmu.edu,

More information

Craig Webre, Sheriff Personnel Division/Law Enforcement Complex 1300 Lynn Street Thibodaux, Louisiana 70301

Craig Webre, Sheriff Personnel Division/Law Enforcement Complex 1300 Lynn Street Thibodaux, Louisiana 70301 DATE OF APPLCATON: Craig Webre, Sheriff Personnel Division/Law Enforcement Complex 1300 Lynn Street Thibodaux, Louisiana 70301 N GENERAL EMAL ADDRESS: For Local Calls - (985) 532-4380 (985) 446-2255 (985)

More information

Modeling Form for On-line Following of Musical Performances

Modeling Form for On-line Following of Musical Performances Modelng Form for On-lne Followng of Muscal Performances Bryan Pardo 1 and Wllam Brmngham 2 1 Computer Scence Department, Northwestern Unversty, 1890 Maple Ave, Evanston, IL 60201 2 Department of Math and

More information

Conettix D6600/D6100IPv6 Communications Receiver/Gateway Quick Start

Conettix D6600/D6100IPv6 Communications Receiver/Gateway Quick Start Conettx / Communcatons Recever/Gateway Quck Start.0 Parts Lst able : Conettx System Components Qty. Descrpton Conettx Communcatons Recever/Gateway AC power cord Battery cable P660 I/O cable P660 Rack mount

More information

Academic Standards and Calendar Committee Report # : Proposed Academic Calendars , and

Academic Standards and Calendar Committee Report # : Proposed Academic Calendars , and Unversty of Rhode sland DgtalCommons@UR Blls 2004 Academc Standards and Calendar Commttee Report #2003041: Proposed Academc Calendars 200708, 200809 and 200910 Unversty of Rhode sland Follow ths and addtonal

More information

current activity shows on the top right corner in green. The steps appear in yellow

current activity shows on the top right corner in green. The steps appear in yellow Browzwear Tutorals Tutoral ntroducton Ths tutoral leads you through the best practces of color ways operatons usng an llustrated step by step approach. Each slde shows the actual applcaton at the stage

More information

Product Information. Manual change system HWS

Product Information. Manual change system HWS Product Informaton HWS HWS Flexble. Compact. Productve. HWS manual change system Manual tool change system wth ntegrated ar feed-through and optonal electrc feed-through Feld of applcaton Excellently sutable

More information

Simon Sheu Computer Science National Tsing Hua Universtity Taiwan, ROC

Simon Sheu Computer Science National Tsing Hua Universtity Taiwan, ROC Mounr A. Tantaou School of Electrcal Engneerng and Computer Scence Unversty of Central Florda Orlando, FL 3286-407-823-393 tantaou@cs.ucf.edu Interacton wth Broadcast Vdeo Ken A. Hua School of Electrcal

More information

Technical Information

Technical Information CHEMCUT Techncal Informaton CORPORATION Introducton The Chemcut CC8000 etcher has many new features desgned to reduce the cost of manufacturng and, just as mportantly, the cost of ownershp. Keepng the

More information

Product Information. Manual change system HWS

Product Information. Manual change system HWS Product Informaton HWS HWS Flexble. Compact. Productve. HWS manual change system Manual tool change system wth ntegrated ar feed-through and optonal electrc feed-through Feld of applcaton Excellently sutable

More information

By BErrY DEBNAM. Meet David Diaz

By BErrY DEBNAM. Meet David Diaz Release Date: Aprl 1-7 14-1(95) Especally and for famles ther e 1995 by Unversal Press Syndcate By BErrY DEBNAM The 1995 Caldecott Wnner Meet Davd Daz The Caldecott Medal s presented each year to the llustrator

More information

AMP-LATCH* Ultra Novo mm [.025 in.] Ribbon Cable 02 MAR 12 Rev C

AMP-LATCH* Ultra Novo mm [.025 in.] Ribbon Cable 02 MAR 12 Rev C AMP-LATCH* Ultra Novo Applcaton Specfcaton Receptacle Connectors for 114-40056 0.64 mm [.025 n.] Rbbon Cable 02 MAR 12 All numercal values are n metrc unts [wth U.S. customary unts n brackets]. Dmensons

More information

Analysis of Subscription Demand for Pay-TV

Analysis of Subscription Demand for Pay-TV Analyss of Subscrpton Demand for Pay-TV Manabu Shshkura Researcher Insttute for Informaton and Communcatons Polcy 2-1-2 Kasumgasek, Chyoda-ku Tokyo 110-8926 Japan m-shshkura@soumu.go.jp Tel: 03-5253-5496

More information

Failure Rate Analysis of Power Circuit Breaker in High Voltage Substation

Failure Rate Analysis of Power Circuit Breaker in High Voltage Substation T. Suwanasr, M. T. Hlang and C. Suwanasr / GMSAR Internatonal Journal 8 (2014) 1-6 Falure Rate Analyss of Power Crcut Breaker n Hgh Voltage Substaton Thanapong Suwanasr, May Thandar Hlang and Cattareeya

More information

Symphony No. 101 The Clock movements 2 & 3

Symphony No. 101 The Clock movements 2 & 3 Unit Study Symphony No. 101 (Haydn) 1 UNIT STUDY LESSON PLAN Student Guide to Symphony No. 101 The Clock movements 2 & 3 by Franz Josef Haydn Name: v. 1.0, last edited 3/27/2009 Unit Study Symphony No.

More information

User s manual. Digital control relay SVA

User s manual. Digital control relay SVA User s manual Dgtal control relay DISIBEINT ELECTRONIC S.L, has been present n the feld of the manufacture of components for the ndustral automaton for more than years, and mantans n constant evoluton

More information

9! VERY LARGE IN THEIR CONCERNS. AND THEREFORE, UH, i

9! VERY LARGE IN THEIR CONCERNS. AND THEREFORE, UH, i 340 WELL, alack PAJAMAS WAS A SOMEWHAT METAPHORCAL 2 TERM. MANY VETNAMESE PEASANTS TENDED TO WEAR 3 BLACK PAJAMAS, BUT WHAT AM REFERRNG TO S THAT 4 OUTSDE OF THE NORTH VETNAMESE UNTS AND ~OME OF 5 THE

More information

Edexcel A Level Syllabus Analysis

Edexcel A Level Syllabus Analysis M USIC T EACHERS.CO.UK the internet service for practical musicians. Edexcel A Level Syllabus Analysis Mozart: Piano Sonata in B-flat K333, first movement. 2000 MusicTeachers.co.uk Mozart: Piano Sonata

More information

Error Concealment Aware Rate Shaping for Wireless Video Transport 1

Error Concealment Aware Rate Shaping for Wireless Video Transport 1 Error Concealment Aware Rate Shapng for Wreless Vdeo Transport 1 Trsta Pe-chun Chen and Tsuhan Chen 2 Abstract Streamng of vdeo, whch s both source- and channel- coded, over wreless networks faces the

More information

Contextual Melodic Dictations Solutions by Gilbert DeBenedetti

Contextual Melodic Dictations Solutions by Gilbert DeBenedetti Contextual Melodic Dictations Solutions by ilbert DeBenedetti Listen to a melody and write it down! 1. Download the "Blank Answer Sheets" (pdf) from www.gmaormusictheory.org/meldict 2. Click and play one

More information

LESSON ONE. New Terms. sopra above

LESSON ONE. New Terms. sopra above LESSON ONE sempre senza NewTerms always without sopra above Scales 1. Write each scale using whole notes. Hint: Remember that half steps are located between scale degrees 3 4 and 7 8. Gb Major Cb Major

More information

Decision Support by Interval SMART/SWING Incorporating. Imprecision into SMART and SWING Methods

Decision Support by Interval SMART/SWING Incorporating. Imprecision into SMART and SWING Methods Decson Support by Interval SMART/SWING Incorporatng Imprecson nto SMART and SWING Methods Abstract: Interval judgments are a way of handlng preferental and nformatonal mprecson n multcrtera decson analyss.

More information

L van Beethoven: 1st Movement from Piano Sonata no. 8 in C minor Pathétique (for component 3: Appraising)

L van Beethoven: 1st Movement from Piano Sonata no. 8 in C minor Pathétique (for component 3: Appraising) L van Beethoven: 1st Movement from Piano Sonata no. 8 in C minor Pathétique (for component 3: Appraising) Background information and performance circumstances The composer Ludwig van Beethoven was born

More information

Modular Plug Connectors (Standard and Small Conductor)

Modular Plug Connectors (Standard and Small Conductor) Modular Plug Connectors (Standard and Small Conductor) Applcaton Specfcaton 114-6016 04 APR 11 All numercal values are n metrc unts [wth U.S. customary unts n brackets]. Dmensons are n mllmeters [and nches].

More information

Hybrid Transcoding for QoS Adaptive Video-on-Demand Services

Hybrid Transcoding for QoS Adaptive Video-on-Demand Services 732 IEEE Transactons on Consumer Electroncs, Vol. 50, No. 2, MAY 2004 Hybrd Transcodng for QoS Adaptve Vdeo-on-Demand Servces Ilhoon Shn and Kern Koh Abstract Transcodng s a core technque that s used n

More information

INSTRUCTION MANUAL FOR THE INSTALLATION, USE AND MAINTENANCE OF THE REGULATOR GENIUS POWER COMBI

INSTRUCTION MANUAL FOR THE INSTALLATION, USE AND MAINTENANCE OF THE REGULATOR GENIUS POWER COMBI NSTRUCTON MANUAL FOR THE NSTALLATON, USE AND MANTENANCE OF THE REGULATOR GENUS POWER COMB (TRANSLATON OF THE ORGNAL NSTRUCTON MANUAL N TALAN) PRELMNARY VERSON WARRANTY The devce s guaranteed 24 months

More information

3 Part differentiation, 20 parameters, 3 histograms Up to patient results (including histograms) can be stored

3 Part differentiation, 20 parameters, 3 histograms Up to patient results (including histograms) can be stored st Techncal Specfcatons Desgned n France Wth a rch past and a professonal experence bult-up over 35 years, SFRI s a French nvatve company commtted to developng preon In Vtro Dst solutons. SFRI has bult

More information

Optimized PMU placement by combining topological approach and system dynamics aspects

Optimized PMU placement by combining topological approach and system dynamics aspects Optmzed PU placement by combnng topologcal approach and system dynamcs aspects Jonas Prommetta, Jakob Schndler, Johann Jaeger Insttute of Electrcal Energy Systems Fredrch-Alexander-Unversty Erlangen-Nuremberg

More information

Unit Outcome Assessment Standards 1.1 & 1.3

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

More information

The UCD community has made this article openly available. Please share how this access benefits you. Your story matters!

The UCD community has made this article openly available. Please share how this access benefits you. Your story matters! Provded by the author(s) and Unversty College Dubln Lbrary n accordance wth publsher polces., Please cte the publshed verson when avalable. tle Dynamc Complexty Scalng for Real-me H.264/AVC Vdeo Encodng

More information

rhinegold education: subject to endorsement by ocr Mozart: Clarinet Concerto in A, K. 622, first movement Context Scores AS PRESCRIBED WORK 2017

rhinegold education: subject to endorsement by ocr Mozart: Clarinet Concerto in A, K. 622, first movement Context Scores AS PRESCRIBED WORK 2017 94 AS/A LEVEL MUSIC STUDY GUIDE AS PRESCRIBED WORK 2017 Mozart: Clarinet Concerto in A, K. 622, first movement Composed in 1791 (Mozart s last instrumental work, two months before he died), dedicated to

More information

APPENDIX 3: ADDITIONAL HARMONIC- SEQUENCE TOPICS

APPENDIX 3: ADDITIONAL HARMONIC- SEQUENCE TOPICS APPENDX : ADDTONAL HARMONC- SEQUENCE TOPCS COMPOUND MELODY AND MPLED SEENTH CHORD SEQUENCES We have observed how composers write single melodic lines that give the impression of two or more independent

More information

Volume 60, Number 11 (November 1942)

Volume 60, Number 11 (November 1942) Gardner-Webb Unversty Dgtal Commons @ Gardner-Webb Unversty The Etude Magazne: 883-957 John R. Dover Memoral Lbrary --942 Volume 60, Number (November 942) James Francs Cooke Follow ths and addtonal works

More information

Turn it on. Your guide to getting the best out of BT Vision

Turn it on. Your guide to getting the best out of BT Vision Avalable n Bralle, large prnt and audo CD. Please call FREE on 8 8 15 for your copy. Turn t on Your gude to gettng the best out of www.bt.com/btvson V.2 28656 Enchantng flms to entertan all the famly Flms

More information

T541 Flat Panel Monitor User Guide ENGLISH

T541 Flat Panel Monitor User Guide ENGLISH T541 Flat Panel Montor User Gude ENGLISH Frst Edton (June / 2002) Note : For mportant nformaton, refer to the Montor Safety and Warranty manual that comes wth ths montor. Ths publcaton could contan techncal

More information

The repair and rebinding history of blockbooks printed in the fi eenth-century now in the Bodleian Library

The repair and rebinding history of blockbooks printed in the fi eenth-century now in the Bodleian Library ``CC11'' --- 2009/9/23 --- 15:54 --- page 105 --- #117 The repar and rebndng hstory of blockbooks prnted n the f eenth-century now n the Bodlean Lbrary by Andrew Honey Bodlean Lbrary, Oxford The ntentons

More information

Bachelor s Degree Programme (BDP)

Bachelor s Degree Programme (BDP) EEG-01/ BEGE-101 Bachelor s Degree Programme (BDP) ASSIGNMENT (for July 2018 and January 2019 Sessons) EEG-01/BEGE-101 ELECTIVE COURSE IN ENGLISH School of Humantes Indra Gandh Natonal Open Unersty Madan

More information

Color Monitor. L200p. English. User s Guide

Color Monitor. L200p. English. User s Guide Color Montor L200p User s Gude Englsh Frst Edton (February / 2003) Note : For mportant nformaton, refer to the Montor Safety and Warranty manual that comes wth ths montor. Contents ENGLISH Safety (Read

More information

Integration of Internet of Thing Technology in Digital Energy Network with Dispersed Generation

Integration of Internet of Thing Technology in Digital Energy Network with Dispersed Generation Amercan Scentfc Research Journal for Engneerng, Technology, and Scences (ASRJETS) ISS (Prnt) 2313-4410, ISS (Onlne) 2313-4402 Global Socety of Scentfc Research and Researchers http://asrjetsjournal.org/

More information

INIHODU~IION AND NOI[~ OJ KJUN~ HO rahk

INIHODU~IION AND NOI[~ OJ KJUN~ HO rahk HAROLD COURLANO[R, C[N[RAL [OITOR INIHODU~IION AND NOI[~ OJ KJUN~ HO rahk Covel desgon by Ronald Clyne , ~ C» ==-== :' C ::::J FOLKWA YS RECORDS FE 4424 ~, C C.., -- s;::: :- C I:) : C I:) ~..,.,---, a,

More information

Expressive Musical Timing

Expressive Musical Timing Axel Berndt, Tlo Hähnel Department of Smulaton and Graphcs Otto-von-Guercke Unversty of Magdeburg {aberndt tlo}@sg.cs.un-magdeburg.de Abstract. Tmng s crucal for the qualty of expressve musc performances.

More information

17. Beethoven. Septet in E flat, Op. 20: movement I

17. Beethoven. Septet in E flat, Op. 20: movement I 17. Beethoven Septet in, Op. 20: movement I (For Unit 6: Further Musical understanding) Background information Ludwig van Beethoven was born in 1770 in Bonn, but spent most of his life in Vienna and studied

More information

Mark schemes should be applied positively. Students must be rewarded for what they have shown they can do rather than penalized for omissions.

Mark schemes should be applied positively. Students must be rewarded for what they have shown they can do rather than penalized for omissions. Marking Guidance General Guidance The mark scheme specifies the number of marks available for each question, and teachers should be prepared equally to offer zero marks or full marks as appropriate. In

More information

A Scalable HDD Video Recording Solution Using A Real-time File System

A Scalable HDD Video Recording Solution Using A Real-time File System H. L et al.: A Scalable HDD Vdeo Recordng Soluton Usng A Real-tme Fle System A Scalable HDD Vdeo Recordng Soluton Usng A Real-tme Fle System Hong L, Stephen R. Cumpson Member, IEEE, Robert Jochemsen, Jan

More information

A Comparative Analysis of Disk Scheduling Policies

A Comparative Analysis of Disk Scheduling Policies A Comparatve Analyss of Dsk Schedulng Polces Toby J. Teorey and Tad B. Pnkerton Unversty of Wsconsn* Fve well-known schedulng polces for movable head dsks are compared usng the performance crtera of expected

More information

Small Area Co-Modeling of Point Estimates and Their Variances for Domains in the Current Employment Statistics Survey

Small Area Co-Modeling of Point Estimates and Their Variances for Domains in the Current Employment Statistics Survey Small Area Co-Modelng of Pont Estmates and Ther Varances for Domans n the Current Employment Statstcs Survey Jule Gershunskaya, Terrance D. Savtsky U.S. Bureau of Labor Statstcs FCSM, March 2018 Dsclamer:

More information

Beethoven: Pathétique Sonata

Beethoven: Pathétique Sonata Beethoven: Pathétique Sonata Key words 1) Instrumentation and Sonority 2) Structure 3) Tonality 4) Harmony 5) Rhythm, Metre and Tempo 6) Melody 7) Texture At the top of your Beethoven Score write each

More information

Example 1 (W.A. Mozart, Piano Trio, K. 542/iii, mm ):

Example 1 (W.A. Mozart, Piano Trio, K. 542/iii, mm ): Lesson MMM: The Neapolitan Chord Introduction: In the lesson on mixture (Lesson LLL) we introduced the Neapolitan chord: a type of chromatic chord that is notated as a major triad built on the lowered

More information

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 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

More information

King Edward VI College, Stourbridge Starting Points in Composition and Analysis

King Edward VI College, Stourbridge Starting Points in Composition and Analysis King Edward VI College, Stourbridge Starting Points in Composition and Analysis Name Dr Tom Pankhurst, Version 5, June 2018 [BLANK PAGE] Primary Chords Key terms Triads: Root: all the Roman numerals: Tonic:

More information

System of Automatic Chinese Webpage Summarization Based on The Random Walk Algorithm of Dynamic Programming

System of Automatic Chinese Webpage Summarization Based on The Random Walk Algorithm of Dynamic Programming Send Orders for Reprnts to reprnts@benthamscence.ae The Open Cybernetcs & Systemcs Journal, 205, 9, 35-322 35 Open Access System of Automatc Chnese Webpage Summarzaton Based on The Random Walk Algorthm

More information

S Micro--Strip Tool in. S Combination Strip Tool ( ) S Cable Holder Assembly (Used only

S Micro--Strip Tool in. S Combination Strip Tool ( ) S Cable Holder Assembly (Used only Instructon Sheet LghtCrmp* Plus LC 408-10103 (for Jacketed Cable) Connectors 18 AUG 09 Rear Protectve Cap Termnaton CoverG Boot Connector Assembly Crmp Eyelet Duplex Clp G Connector kt s shpped wth these

More information

Discussion Paper Series

Discussion Paper Series Doshsha Unversty Center for the Study of the Creatve Economy Dscusson Paper Seres No. 2013-04 Nonlnear Effects of Superstar Collaboraton: Why the Beatles Succeeded but Broke Up Tadash Yag Dscusson Paper

More information

Haydn: Symphony No. 97 in C major, Hob. I:97. the Esterhazy court. This meant that the wonderful composer was stuck in one area for a large

Haydn: Symphony No. 97 in C major, Hob. I:97. the Esterhazy court. This meant that the wonderful composer was stuck in one area for a large Haydn: Symphony No. 97 in C major, Hob. I:97 Franz Joseph Haydn, a brilliant composer, was born on March 31, 1732 in Austria and died May 13, 1809 in Vienna. For nearly thirty years Haydn was employed

More information

Music Appreciation Final Exam Study Guide

Music Appreciation Final Exam Study Guide Music Appreciation Final Exam Study Guide Music = Sounds that are organized in time. Four Main Properties of Musical Sounds 1.) Pitch (the highness or lowness) 2.) Dynamics (loudness or softness) 3.) Timbre

More information

Instrumental Performance Band 7. Fine Arts Curriculum Framework

Instrumental Performance Band 7. Fine Arts Curriculum Framework Instrumental Performance Band 7 Fine Arts Curriculum Framework Content Standard 1: Skills and Techniques Students shall demonstrate and apply the essential skills and techniques to produce music. M.1.7.1

More information

Music Grade 6 Term 1 GM 2018

Music Grade 6 Term 1 GM 2018 1 Music Grade 6 Term 1 Contents Revision... 2 The Stave... 2 The Treble clef... 2 The Semi-breve... 2 The Semi-breve Rest... 2 The Minim... 2 The Minim Rest... 3 The Crochet... 3 The Crochet rest... 3

More information

NORTH CAROLINA THE LIBRARY OF THE UNIVERSITY OF. ENDOWED BY THE DIALECTIC AND PHILANTHROPIC SOCIETIES Vault Folio MT830,C6. v.

NORTH CAROLINA THE LIBRARY OF THE UNIVERSITY OF. ENDOWED BY THE DIALECTIC AND PHILANTHROPIC SOCIETIES Vault Folio MT830,C6. v. THE LBRARY OF THE UNVERSTY OF NORTH CAROLNA ENDOWED BY THE DALECTC AND PHLANTHROPC SOCETES Vault Folo MT830,C6 v.l MUSC LBRARY THE LBRARY OF THE UNVERSTY OF NORTH CAROLNA ENDOWED BY THE DALECTC AND PHLANTHROPC

More information

Additional Theory Resources

Additional Theory Resources UTAH MUSIC TEACHERS ASSOCIATION Additional Theory Resources Open Position/Keyboard Style - Level 6 Names of Scale Degrees - Level 6 Modes and Other Scales - Level 7-10 Figured Bass - Level 7 Chord Symbol

More information

STARTING ON THE HARPSICHORD

STARTING ON THE HARPSICHORD STARTNG ON THE HARPSCHORD A FRST BOOK FOR THE BEGNNER by JEAN NAND with the collaboration of LEONE JENKNS (Musical Examples) BON GOUT PUBLSHNG CO 2140 Shattuck Ave; Suite 2453 Berkeley; CA 94704 Copyright

More information

Music theory B-examination 1

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)

More information

LOW-COMPLEXITY VIDEO ENCODER FOR SMART EYES BASED ON UNDERDETERMINED BLIND SIGNAL SEPARATION

LOW-COMPLEXITY VIDEO ENCODER FOR SMART EYES BASED ON UNDERDETERMINED BLIND SIGNAL SEPARATION LOW-COMPLEXITY VIDEO ENCODER FOR SMART EYES BASED ON UNDERDETERMINED BLIND SIGNAL SEPARATION Jng Lu, Fe Qao *, Zhjan Ou and Huazhong Yang Department of Electronc Engneerng, Tsnghua Unversty ABSTRACT Ths

More information

Music 231 Motive Development Techniques, part 1

Music 231 Motive Development Techniques, part 1 Music 231 Motive Development Techniques, part 1 Fourteen motive development techniques: New Material Part 1 (this document) * repetition * sequence * interval change * rhythm change * fragmentation * extension

More information

Product Bulletin 40C 40C-10R 40C-20R 40C-114R. Product Description For Solvent, Eco-Solvent, UV and Latex Inkjet and Screen Printing 3-mil vinyl films

Product Bulletin 40C 40C-10R 40C-20R 40C-114R. Product Description For Solvent, Eco-Solvent, UV and Latex Inkjet and Screen Printing 3-mil vinyl films Product Bulletn 40C Revson D, Effectve February 2016 (Replaces C, Apr. 15) 40C-10R 40C-20R 40C-114R Product Descrpton For Solvent, Eco-Solvent, UV and Latex Inkjet and Screen Prntng 3-ml vnyl flms Quck

More information

\it J 11 ;JJ' JJJ J J J J J i JJJ JIH JITTTB^

\it J 11 ;JJ' JJJ J J J J J i JJJ JIH JITTTB^ Snare Play from Beginning to end. Errata: Note: The accel. written in m. 25 should continue all the way to m. 29. The tempo marking at m. 27 is merely a reference point serving as the midway tempo of the

More information

Technical and Musical Analysis of Trio No: 2 in C Major for Flute, Clarinet and Bassoon by Ignaz Joseph Pleyel

Technical and Musical Analysis of Trio No: 2 in C Major for Flute, Clarinet and Bassoon by Ignaz Joseph Pleyel Technical and Musical Analysis of Trio No: 2 in C Major for Flute, Clarinet and Bassoon by Ignaz Joseph Pleyel Sabriye Özkan*, Burçin Barut Dikicigiller** & İlkay Ak*** *Associate professor, Music Department,

More information

OCR GCSE (9-1) MUSIC TOPIC EXPLORATION PACK - THE CONCERTO THROUGH TIME

OCR GCSE (9-1) MUSIC TOPIC EXPLORATION PACK - THE CONCERTO THROUGH TIME OCR GCSE (9-1) MUSIC TOPIC EXPLORATION PACK - THE CONCERTO THROUGH TIME Abstract [Draw your reader in with an engaging abstract. It is typically a short summary of the document. When you re ready to add

More information

WSMTA Music Literacy Program Curriculum Guide modified for STRINGS

WSMTA Music Literacy Program Curriculum Guide modified for STRINGS WSMTA Music Literacy Program Curriculum Guide modified for STRINGS Level One - Clap or tap a rhythm pattern, counting aloud, with a metronome tempo of 72 for the quarter beat - The student may use any

More information

CONNECTIONS GUIDE. To Find Your Hook.up Turn To Page 1

CONNECTIONS GUIDE. To Find Your Hook.up Turn To Page 1 CONNECTIONS GUIDE To Fnd Your Hook.up Turn To Page 1 Connectng TV to Antenna (or Cable Wthout Cable Box) and No VCR (Hook-up 1A)... 2 Monaural VCR (Hook-up 1B)... 3 StereoVCR (Hook-up 1C)... 4 Cable Wth

More information

Transcribing for the Trombone Ensemble

Transcribing for the Trombone Ensemble Unversty of Tennessee, Knoxvlle Trace: Tennessee Research and Creatve Exchange Unversty of Tennessee Honors Thess Projects Unversty of Tennessee Honors Program 51998 Transcrbng for the Trombone Ensemble

More information

MMTA Written Theory Exam Requirements Level 3 and Below. b. Notes on grand staff from Low F to High G, including inner ledger lines (D,C,B).

MMTA Written Theory Exam Requirements Level 3 and Below. b. Notes on grand staff from Low F to High G, including inner ledger lines (D,C,B). MMTA Exam Requirements Level 3 and Below b. Notes on grand staff from Low F to High G, including inner ledger lines (D,C,B). c. Staff and grand staff stem placement. d. Accidentals: e. Intervals: 2 nd

More information

GREAT STRING QUARTETS

GREAT STRING QUARTETS GREAT STRING QUARTETS YING QUARTET At the beginning of each session of this course we ll take a brief look at one of the prominent string quartets whose concerts and recordings you will encounter. The

More information

include a comment explaining the reason and the portions of the pending application that are being

include a comment explaining the reason and the portions of the pending application that are being Page 1 of8 Federal Communications Commission Approved by OMB Washington, D.C. 20554 3060-1115 (February 2009) FCC 388 DTV Quarterly Activity Station Report FOR FCC USE ONLY 1 FOR COMMSSON USE ONLY "LE

More information

Tonal Polarity: Tonal Harmonies in Twelve-Tone Music. Luigi Dallapiccola s Quaderno Musicale Di Annalibera, no. 1 Simbolo is a twelve-tone

Tonal Polarity: Tonal Harmonies in Twelve-Tone Music. Luigi Dallapiccola s Quaderno Musicale Di Annalibera, no. 1 Simbolo is a twelve-tone Davis 1 Michael Davis Prof. Bard-Schwarz 26 June 2018 MUTH 5370 Tonal Polarity: Tonal Harmonies in Twelve-Tone Music Luigi Dallapiccola s Quaderno Musicale Di Annalibera, no. 1 Simbolo is a twelve-tone

More information

LESSON ONE. New Terms. a key change within a composition. Key Signature Review

LESSON ONE. New Terms. a key change within a composition. Key Signature Review LESSON ONE New Terms deceptive cadence meno piu modulation V vi (VI), or V7 vi (VI) less more a key change within a composition Key Signature Review 1. Study the order of sharps and flats as they are written

More information

An Interpretive Analysis Of Mozart's Sonata #6

An Interpretive Analysis Of Mozart's Sonata #6 Back to Articles Clavier, December 1995 An Interpretive Analysis Of Mozart's Sonata #6 By DONALD ALFANO Mozart composed his first six piano sonatas, K. 279-284, between 1774 and 1775 for a concert tour.

More information

TEXAS MUSIC TEACHERS ASSOCIATION Student Affiliate World of Music

TEXAS MUSIC TEACHERS ASSOCIATION Student Affiliate World of Music Identity Symbol TEXAS MUSIC TEACHERS ASSOCIATION Student Affiliate World of Music Grade 11 2012-13 Name School Grade Date 5 MUSIC ERAS: Match the correct period of music history to the dates below. (pg.42,43)

More information

Statistics AGAIN? Descriptives

Statistics AGAIN? Descriptives Cal State Northrdge Ψ427 Andrew Answorth PhD Statstcs AGAIN? What do we want to do wth statstcs? Organze and Descrbe patterns n data Takng ncomprehensble data and convertng t to: Tables that summarze the

More information

Descending- and ascending- 5 6 sequences (sequences based on thirds and seconds):

Descending- and ascending- 5 6 sequences (sequences based on thirds and seconds): Lesson TTT Other Diatonic Sequences Introduction: In Lesson SSS we discussed the fundamentals of diatonic sequences and examined the most common type: those in which the harmonies descend by root motion

More information

Study Guide. Solutions to Selected Exercises. Foundations of Music and Musicianship with CD-ROM. 2nd Edition. David Damschroder

Study Guide. Solutions to Selected Exercises. Foundations of Music and Musicianship with CD-ROM. 2nd Edition. David Damschroder Study Guide Solutions to Selected Exercises Foundations of Music and Musicianship with CD-ROM 2nd Edition by David Damschroder Solutions to Selected Exercises 1 CHAPTER 1 P1-4 Do exercises a-c. Remember

More information

LESSON 1 PITCH NOTATION AND INTERVALS

LESSON 1 PITCH NOTATION AND INTERVALS FUNDAMENTALS I 1 Fundamentals I UNIT-I LESSON 1 PITCH NOTATION AND INTERVALS Sounds that we perceive as being musical have four basic elements; pitch, loudness, timbre, and duration. Pitch is the relative

More information

BINGO. Divide class into three teams and the members of each team with one of the three versions of the Bingo boards.

BINGO. Divide class into three teams and the members of each team with one of the three versions of the Bingo boards. BINGO Copy information cards onto cardstock paper, or glue them on to 3x5 cards. Divide class into three teams and the members of each team with one of the three versions of the Bingo boards. Supply beans

More information

Music of Acoma, Isleta, Cochiti, and Zuñi Pueblos

Music of Acoma, Isleta, Cochiti, and Zuñi Pueblos Musc of Acoma, Isleta, Cocht, and Zuñ Pueblos by Frances Densmore (1867-1957) Ths PDF s provded by www.flutopeda.com as part of a collecton of resources for the Natve Amercan flute. The full ctaton for

More information

CONNECTIONS GUIDE. To Find Your Hook.up Turn To Page 1

CONNECTIONS GUIDE. To Find Your Hook.up Turn To Page 1 CONNECTIONS GUIDE To Fnd Your Hook.up Turn To Page 1 Connectng TV to Antenna (or Cable Wthout Cable Box) and No VCR (Hook-up 1A)...2 Monaural VCR (Hook-up 1B)...3 Stereo VCR (Hook-up 1C)... 4 Cable Wth

More information

TRADE-OFF ANALYSIS TOOL FOR INTERACTIVE NONLINEAR MULTIOBJECTIVE OPTIMIZATION Petri Eskelinen 1, Kaisa Miettinen 2

TRADE-OFF ANALYSIS TOOL FOR INTERACTIVE NONLINEAR MULTIOBJECTIVE OPTIMIZATION Petri Eskelinen 1, Kaisa Miettinen 2 Internatonal Conference 20th EURO Mn Conference Contnuous Optmaton and Knowledge-Based Technologes (EurOPT-2008) May 20 23, 2008, Nernga, LITHUANIA ISBN 978-9955-28-283-9 L. Saalausas, G.W. Weber and E.

More information

The Classical Period

The Classical Period The Classical Period How to use this presentation Read through all the information on each page. When you see the loudspeaker icon click on it to hear a musical example of the concept described in the

More information

MUSIC PROGRESSIONS. Curriculum Guide

MUSIC PROGRESSIONS. Curriculum Guide MUSIC PROGRESSIONS A Comprehensive Musicianship Program Curriculum Guide Fifth edition 2006 2009 Corrections Kansas Music Teachers Association Kansas Music Teachers Association s MUSIC PROGRESSIONS A Comprehensive

More information

Stephen Schwartz Defying Gravity (from Wicked) Name: PLC. score

Stephen Schwartz Defying Gravity (from Wicked) Name: PLC. score Stephen Schwartz Defying Gravity (from Wicked) I know the plot of Wicked and how the song fits into the musical I can describe the setting of the words, and understand vocables I can identify how the voices

More information

Table of Contents. Lesson Page Material Major Scales (Up to 4 flats/sharps) Key Signatures

Table of Contents. Lesson Page Material Major Scales (Up to 4 flats/sharps) Key Signatures Table of Contents Lesson Page Material 1 Review of Level 3 4.1 4 Major Scales (Up to 4 flats/sharps) Key Signatures 4.2 13 Order of Sharps and Flats Naming Key Signatures 4.3 18 Compound Time (9/8; 12/8)

More information