The Transcriber s Art - #41 Richard Yates Poème d Amour #1 and #2, Jules Massenet
|
|
- Roland Lloyd
- 5 years ago
- Views:
Transcription
1 The Transcriber s Art # Richard Yates Poème d Amour # and #, Jules Massenet I have tried to say ith music hat you say ith ords I think and feel in music and I should like to think and feel same things as you Maurice Ravel, quoted by Jules Renard, 907 Music began ith human voice, and despite passage of millennia e have devised no instrument to match it Acoustically it embodies a continuously modulated timbre and an infinite variety of articulation Its connection to our feelings and thoughts is direct and immediate rar than mediated by akard, mechanical interfaces e call instruments While e guitarists may comfort ourselves ith description of our little orchestra, disparity in expressive resources beteen voice and any instrument is humbling When one adds to this unique ability of voice to convey ords, it is not surprising that transcription of vocal orks to guitar is difficult And yet re are some aspects of vocal music that commend it for transcription The typical pitch range of a song is narroer than most instruments and so it suits solo guitar s need to encompass both melody and accompaniment Songs are usually of shorter duration and moderate tempo, and have an overall scale that matches guitar ell While re certainly are exceptions, in general, priority given to vocal melody precludes undue complexity in accompaniment and suggests that simplifications to it can be made ithout detriment to hole Thus transcription of songs simultaneously presents attractive, congenial features and daunting challenges Mélodie The French art songs that developed beginning in mid 9th century came to be called mélodies They are contrasted ith German Lied in that y have, in Debussy s ords, clarity of expression, precision and concentration of form They are typically more subtle and restrained in expression, valuing refinement over excessive display Mélodies also sho a close and carefully constructed relationship beteen lyrics and melody This artistic melding of rhythm in ords and melody is termed prosody Nearly all French composers of period rote mélodies, but deserving particular mention are Ravel, Debussy, Fauré and composer of to songs in this issue of Soundboard Jules Massenet (8 9) Massenet is best knon for his vocal music, hich includes a couple dozen operas and more than 50 songs Poème d Amour is one of eight song cycles composed by Massenet It includes six songs set to poems by Paul Robiquet, a prominent historian, political essayist and philosopher Massenet s attention to lyrics is a topic deserving a dissertation by itself, and indeed one as ritten by Eunhee Chae at University of North Texas in 000 In terms of composer s treatment of prosody, Jules Massenet distinguishes himself in his melodies, rote Chae His musical prosody reveals idiosyncratic styles, hich establish a balance beteen poetry and music The melody and rhythm in his mélodies sho his originality at a high level, focusing on prosody of phonetic, syntactic and semantic features
2 Translation and Word Painting With Massenet s songs e are confronted ith an additional obstacle lyrics are in French Alain Reiher, a guitar composer and native French speaker, provided me ith a literal English translation I n adusted lyrics to match prosody of original hile maintaining meaning In Massenet s musical score phrase lengths, meters, rhythmic figures and individual note durations carefully match those of lyrics Notice that in second song measures ith / and / time signatures are used to match different lengths of phrases in poem There is also considerable use of ord painting to forge an even tighter unity of ords and music In ord painting composer aims to make a close connection beteen specific ords and melody notes or harmony Of many subtle touches of ord painting in this song cycle I have selected to as examples: In measure 8 of first song, hen cypresses boed ir crons, tempo slos, harmonic density increases, and texture thickens over a descending bass line The image of maestic trees boing is unmistakable At measure 8 of second song, ord mad is set to a dense, dissonant and remote C sharp dominant seventh chord here expected chord as C maor The chord Massenet used is indeed a little mad Examining musical score in close context ith lyrics as necessary throughout process of making solo guitar transcription Transcription But, if a song is so intimately entined ith its lyrics ho is a transcriber for solo guitar to convey all this to performer? If lyrics are an essential feature, ho can e carry m over into an instrumental piece? The first impulse to ust ignore problem, fit melody and accompaniment to guitar,and hope it can stand by itself is not satisfying And not many classical guitarists ould ant a vocoder installed, so direct expression of lyrics is impossible! But lyrics can still play an important ro albeit an indirect one The first step is to become thoroughly familiar ith ay lyrics and music interact to reinforce each or Certainly performance of piece can benefit from such study as examples I cite, but ho is transcriber to present this? One solution is to include lyrics in verse form The player can n see hat song is about and grasp general feeling tone My collection of Thomas Morley s Canzonets (yatesguitarcom/gfa/morleypdf) used this approach, but that examp ith its contrapuntal textures and frequent repetition of ords and phrases did not have meticulous prosody and ord painting that Massenet uses to such onderful effect The only ay to communicate all necessary information is to include lyrics under staff, as in original song The performance on solo guitar can thus be fully informed by lyrics, and so, for this issue s transcriptions, I have taken unusual step of presenting score in this ay Please note that I am not recommending that publishers of transcribed songs adopt this format, but for this article I think it helps illustrate importance and essential influence of lyrics on guitar transcription and, especial performance Parentical although it as not my original intention, you might also use this score ith a singer to perform it as an accompanied song If you have absorbed hat you ant from versions printed here, but prefer scores ithout lyrics and page turns, you can donload scores from my ebsite at yatesguitarcom/gfa/massenetpdf
3 Fingering Although level of difficulty of se transcriptions is quite moderate, re are a fe places here fingering can use some explanation In measure 8 of first song, you ill find it helpful to leave finger on F sharp from chord that ends measure 7 It is n firmly on first string as a guide finger for shift up chord on second eighth beat Also in first song, at measure finger on G is most conveniently placed early ith last note of previous measure This secures stretch and barré of measure The fingering of third halfnote beat of measure 6 of second song seems unusual, but is much preferred to a more natural fingering (using, and fingers) because it makes an orise tricky shift to next chord quite easy The and fingers can remain in place hile slides back one fret and comes don on B on fifth string Beginning in measure 0 of second song, music divides into three distinct voices The fingerings have been chosen to enable note durations to be sustained for ir full values Take special care to place fingertips vertically to avoid damping adacent, sounding strings The chord change from measure to measure of second song has a stretch that risks buzzing top note I hedge risk a bit by sitching finger onto second string E on last eighth note of measure This fingering secures shift quite ell Although it does stop E premature it is not noticeable because E is fifth of chord and because it is strongly present in overtone series of bass note A Please send any comments or suggestions to: Richard Yates richard@yatesguitarcom yatesguitarcom
4 Poème d Amour Transcribed for guitar by Richard Yates 8 6 Mouvt modéré avec un sentiment intime et simple p # Je I me have suis plaint complained Jules Massenet (8 9) aux to tour tur te tle rel doves les, and 5 Les tour tur # te rel les ont gé mi, Et la ca tle doves all moaned to me And ca res res se ses V de of leurs ir ai ings les have 9 # m a con so lé comme un a mi J ai con té ma dou con soled me ell ust like a friend I have told my des leur pair au to chê oak ne, trees Œ # # Le chêne, The oak au trees cur on dur, hard fut hearts tou ere ché Les cy près ont touched The cy pres ses com have pris ma pei knon my sor ne, ro, 7 # J # J # Et And vers toards moi me leur y # cresc poco rall # front s est boed # pen ir a tempo # p n # ché Le zé phyr, eff leu rant mon â me, crons The soft bree zes did brush my soul,
5 8 9 Bien Ve tris ry te ment sad ly a y J I mur mu ré: Mais qui m a gué ri? his pered this: But ho has cured me? 0 C est Tas la fem o V 0 un peu retenu me! Quand e pleu rais, man! Whene er I ept, 0 6 # elle She dim # 0# a al pleu so ré! ept U # # 6 =D # c Calme, recuelli, mais sans lenteur g p La The nuit, night, sans no doute, doubt, é tait bel as much love # U c İI g le ciel sky bleu, blue, J eus I m tort rong d ad to mir ad er mire a vec el next to her 6 # # c Œ # # F # # # Œ # L oeu vre de Dieu C é tait dans les nids de ver du ork of God There ere in nests filled ith green re ery
6 9 # Ó # # # # # Trop Too de ma c # g n n chansons! L é toi le bril ny songs! The star shone n f lait bright # n n # and pu pure re, # en animant peu à peu Sur on les ga zons! Oui, c est ta fau te, soft lans! Yes, it is your fault, # cresc Ô O nuit still IV # se rei ne, se rene night, # IV Si Her VI # IV # ## # f son love beau ly cou, neck, Son her front pale pa vi n n ses yeux sage, her ro n de yal 7 # n decresc reine eyes 5 M ont ren ren der du me VI # # # fou mad Ó # n rall π La The nuit, nuit, sans no doute, doubt, 0 # n n é is tait bel much love le ciel sky bleu, blue, La The nuit, sans doute, night, no doubt, é is tait much n # g f bel love IV # n le 0 0 retenez ciel sky c bleu! blue! decresc g Œ p g
The Transcriber s Art - #48 Alfredo Catalani, In Sogno By Richard Yates
The Transcriber s Art - #8 Alfredo Catalani, In Sogno By Richard Yates The preparations to stage an opera at the prestigious Teatro Carignano in Turin ere derailed at the last moment by the abrupt ithdraal
More informationLesson 5 Contents Overview of Lesson 5 Rhythm Change 1a Rhythm Watch Time Signature Test Time Dotted Half Notes Flower Waltz Three Step Waltz
Lesson 5 Contents Overvie of Lesson 5 Rhythm Change a Rhythm Watch b Time Signature c Test Time 2 Dotted Half Notes 2a Floer Waltz 2b Three Step Waltz 2c Autumn Leaves 2d Single Bass Notes Bass Staff Notes
More informationThe Transcriber s Art #50 Gabriel Fauré, Mai and Le plus doux chemin by Richard Yates
The Transcriber s Art 5 Gabriel Fauré, Mai and Le plus doux chemin by Richard Yates To me... music exists to elevate us as far as possible above everyday life. Gabriel Fauré For most of his career, everyday
More informationSOS A resource for directors of beginning sight readers. Written and Composed by Laura Farnell and Mary Jane Phillips
SOS: Simplifying Our Sight Reading 8. x Book 8 pages () SOS Simplifying Our Sight Reading Supplemental Resources: SOS Simplifying Our Sight Reading --- --- A resource for directors of beginning sight readers
More informationTHE TRILL, APPOGGIATURA, MORDENT & GRACE NOTE
Ÿ THE TRILL, APPOGGIATURA, MORDENT GRACE NOTE The Trill is an ornament consisting of the rapid alteration of to adacent notes: the main note and the note either a half or hole step above or belo it. It
More informationThe lines and spaces of the staff are given certain letter names when the treble clef is used.
TREBLE CLEF Name TREBLE CLEF The treble clef is used for notes of higher pitch. It is also called the G clef because the curl of the treble clef circles the G line on the treble staff. G The lines and
More informationLine 5 Line 4 Line 3 Line 2 Line 1
Lesson 1: The Staff The musical staff is made up of five lines and four spaces. 1. Practice draing a staff by connecting the hyphens. - - - - - - - - - - 2. On this staff, number the lines from lo to high.
More informationVERSIONS OF MINOR SCALES. Below are examples of the three forms of minor scales in the keys of a minor and g # minor. a minor. Sol Mi.
VERSIONS OF MINOR SCALES Belo are examples of the three forms of minor scales in the keys of a minor and g # minor. a minor Natural minor or Harmonic minor # lodic minor # # n n Fi # Natural minor # Harmonic
More informationLevel 1 Music, Demonstrate knowledge of conventions used in music scores p.m. Friday 10 November 2017 Credits: Four
91094 910940 1SUPERVISOR S Level 1 Music, 2017 91094 Demonstrate knoledge of conventions used in music scores 2.00 p.m. Friday 10 November 2017 Credits: Four Achievement Achievement ith Merit Achievement
More information2018 White Sabers Brass Warm-up Packet
2018 White Sabers Brass Warm-up Packet Welcome to the 2018 version of the White Sabers Drum and Bugle Corps brass section! This packet is intended to help you become more familiar ith hat you can expect
More informationJazz Band Catalog EMERGING JAZZ SERIES
azz Band Catalog 0-01 EMERGING AZZ SERIES Getting a azz Band Started Starting a azz band can seem like a huge task. You may or may not have any azz playing experience and are not quite sure here to start...
More informationSong chapter packet for: Have You Met Miss Jones
Song chapter packet for: Have You Met Miss ones 1 Accessing and Playing the Audio Files The audio files for this packet are available to you ithin a Soundcloud playlist for the book Trombone Improvisation
More informationMacro Analysis of Robert Schumann s Abschied, from Waldscenen, Op. 82
Macro Analysis of Robert Schumann s Abschied, from Waldscenen, Op. 82 Allison Hakins 2003 Robert Fountain Memorial Aard Recipient All artists are, to one degree or another, affected by the predecessors
More informationMath in Motion SAMPLE FIRST STEPS IN MUSIC THEORY. Caleb Skogen
Math in Motion FIRST STEPS IN MUSIC THEORY Caleb Skogen 2 Math in Motion: First Steps in Music Theory C lassical onversations MULTIMEDIA Caleb Skogen, Math in Motion: First Steps in Music Theory 2015 Classical
More informationœ œ œ œ œ œ œ œ { œ œ œ œ Level III Advanced Jaques-Dalcroze Certification Improvisation
Improvisation Throughout the process, the candidate must perform musically and accurately at the piano ith a clear sense of flo, i.e., ithout pauses, uncertainty, or hesitations. While performing, the
More informationJazz Piano Left Hand Techniques
Lesson 1: Moderate sing q q n azz Piano Left Hand Techniques = q e b by Ron Drotos One of the biggest questions that aspiring azz pianists ask me is, "What do I do ith my left hand" Once you get a sense
More informationTwelve Canons for recorder ensemble page Round. for 3-6 treble recorders
Telve Canons for recorder ensemble page 1 Round for 3-6 treble recorders A round is a type of canon, hich may continue repeating it indefinitely. This round is at maximum a canon in six. A ne part can
More informationœ œ œ œ œ œ œ œ œ œ Playing on the 3 Black Keys Dr. Kathy Rabago Right Hand Left Hand A quarter note ( q ) = 1 beat
Lesson Playing on the Black Keys Dr. Kathy Rabago Right Hand Left Hand Left Hand (Stems Don) Right Hand (Stems up) A quarter note ( q ) = beat A half note ( h ) = beats A hole note ( ) = beats Dr. Kathy
More informationTHE FIFTY-FIFTH ANNUAL
THE FIFTY-FIFTH ANNUAL MIDWEST CLINIC An International B Orchestra Conference "The Mastery of Music Fundamentals" Edard S. Lisk, Clinician Assisted by The Vercook College B Dr. Charles T. Menghini, Director
More informationSONG TITLE: UNFAITHFUL ALBUM: A GIRL LIKE ME RELEASED: 2006 LABEL: DEF JAM, SRP GENRE: POP/R&B
SONG TITLE: UNFAITHFUL ALBUM: A GIRL LIKE ME RELEASED: 2006 LABEL: DEF AM, SRP GENRE: POP/RB VOCALS: RIHANNA PIANO: CARL STURKEN STRING ARRANGEMENT: ROBERT MOUNCEY PERCUSSION: TED HEMBERGER WRITTEN BY:
More informationDante s Prayer From the Quinlan Road CD The Book Of Secrets
LO R E E NA M KENNITT S H E ET M U S I PIANO HARP VOAL Dante s Prayer rom the Quinlan Road D The Book Of Secrets To purchase Loreena McKennitt Sheet Music visit opyright to this printed edition of Loreena
More informationConnecticut State Department of Education Music Standards Middle School Grades 6-8
Connecticut State Department of Education Music Standards Middle School Grades 6-8 Music Standards Vocal Students will sing, alone and with others, a varied repertoire of songs. Students will sing accurately
More informationSample. January - Week 1: Song #44 Clock Round CD2:30
January - Week 1: Musical Concepts: * Styles of music * Practice reading note names in solfege or using letter names * Practice reading rhythms: q qr qttt * Solo singing, improvise on unpitched percussion,
More informationContents FOREWORD... 5
Contents FOREWORD... 5 2 Unit 1 Lesson 1: The Staff, Notes, and Pitches... 6 Lesson 2: Treble Clef and Staff... 8 Lesson 3: Bass Clef and Staff... 10 Lesson 4: The Grand Staff and Ledger Lines (The Middle
More informationComposed for Deborah Andrus DE PROFUNDIS FOR Bb CLARINET, RECORDED SOUNDS AND PROJECTED TEXT (DVD) PATRICK LONG (2006)
Composed for Deborah Andrus DE PROFUNDIS FOR Bb CLARINET, RECORDED SOUNDS AND PROECTED TEXT (DVD) by PATRICK LONG (2006) PROGRAM NOTES: De Profundis is my third in a cycle of pieces that I think of as
More information2016 HSC Music 1 Aural Skills Marking Guidelines Written Examination
2016 HSC Music 1 Aural Skills Marking Guidelines Written Examination Question 1 Describes the structure of the excerpt with reference to the use of sound sources 6 Demonstrates a developed aural understanding
More informationMusic of the Masters 2
Music of the Masters 2 eductions of famous classics for school and church use arr. Sharon Elery ogers Limited Print License With the purchase of this collection, you are granted permission to locally duplicate
More informationRealizations for Piano Solo of Five Chansons by Guillaume de Machaut (ca )
Machaut Tunes Realizations for Piano Solo of Five Chansons by Guillaume de Machaut (ca. 1300-1377) Quant e sui mis (Virelai # 13) Sanz cuer-dame-amis (Ballade #17) Se e soupir (Virelai # 36) e sui aussi
More informationGetting into The Blues Lesson 2
Getting into The Blues Lesson Critical Learning Students understand ho to create a Blues progression Students practise pitch accuracy Grade 7 Music Guiding Questions What does it feel like to compose and
More informationCopyright by Teresa Richert All Rights Reserved ISMN:
Copyright 20-207 by All Rights Reserved ISMN:7-0-00-6- Just for Fun! Just for Fun! is a collection of piano pieces I rote especially for students in their early levels of study. They ere inspired by activities
More informationAP Theory Overview:
AP Theory Overvie: 1. When you miss class, keep up ith assignments on our ebsite: http://saamusictheory.eebly.com/ 2. Take notes using our 'Note-taking paper', or buy: https://scoreclefnotes.com/buy/ 3.
More informationPreview Only W PREVIEW PREVIEW PREVIEW PREVIEW EW PREVIEW PREVIEW PREVIE REVIEW PREVIEW EVIEW PREVIEW PREVIEW PREV
2 Surely He Has Borne Our Griefs This poignant prophetic text from Isaiah 53 begins ith the question Who has believed hat e have heard and to hom has the Lord been revealed The soloist then goes on to
More informationEasy Music Theory. for Middle School. Index
Easy Music Theory for Middle School Name: Class: Year: Index Note Names & Ledger Lines... 1-7, 23 Measures & ar Lines... 8 Rhythms & Note Values... 9-12, 18, 21-25, 40 Time Signatures... 13, 20, 44 Conducting
More informationA collection of classroom composing activities, based on ideas taken from the Friday Afternoons Song Collection David Ashworth
Friday Afternoons a Composer s guide A collection of classroom composing activities, based on ideas taken from the Friday Afternoons Song Collection David Ashworth Introduction In the latest round of Friday
More informationSummary of the Transcription Process
Summary of the Transcription Process Anyone ho has studied ith me privately or in a master class situation, hether advanced or not are aare of my feelings about transcribing solos. My DVD on the subject,
More informationFREE music lessons from Berklee College of Music
FREE music lessons from Berklee College of Music The Songs of John Lennon: The Beatles Years John Stevens Analysis of Tomorro Never Knos Press ESC to cancel sound. Check out Berkleeshares.com for more
More informationLa Salle University. I. Listening Answer the following questions about the various works we have listened to in the course so far.
La Salle University MUS 150-A Art of Listening Midterm Exam Name I. Listening Answer the following questions about the various works we have listened to in the course so far. 1. Regarding the element of
More informationPiano Proficiency Examination Requirements Effective Fall 2006
Scales Piano Proficiency Examination Requirements Effective Fall 006 All maor and harmonic minor scales To octaves, ascending and descending, hands separately Performed ith a steady tempo and ith correct
More information2ca - Compose and perform melodic songs. 2cd Create accompaniments for tunes 2ce - Use drones as accompaniments.
Music Whole School Unit Overview and Key Skills Checklist Essential Learning Objectives: To perform To compose To transcribe To describe music Year 3 National Curriculum Unit Rhythm the class orchestra
More informationMusic Technology Advanced Subsidiary Unit 1: Music Technology Portfolio 1
Pearson Edexcel GCE Music Technology Advanced Subsidiary Unit 1: Music Technology Portfolio 1 Release date: Monday 1 September 2014 Time: 60 hours Paper Reference 6MT01/01 You must have: A copy of the
More informationPreview Only W PREVIEW PREVIEW PREVIEW PREVIEW EW PREVIEW PREVIEW PREVIE REVIEW PREVIEW EVIEW PREVIEW PREVIEW PREV
2 COME, THOU OUNT O ERY BLESSING The lyrics and oth tunes used in this arrangement come from the Sacred Har tradition in the United States Countless seekers have found solace in the rugged simlicity of
More informationWe Are the Future by Paul Rardin
PBLISHERS PACKET BLES Bad Choral Music and Ho to Sot It Paul Rardin Temle niversity Texas Choral Directors Association Convention Monday, uly 22, 2013, 9:15am Featuring the rightully neglected by Paul
More informationRecorder. Flashcards
Recorder Fingering and Note Flashcards Vented M PL ES 24 LARGE Fingering Charts and 20 Note Name Flashcards for soprano and tenor recorders ith Baroque and German Fingerings. Includes activities, games
More informationBehold, a Branch Is Growing / Linda Moeller
28N9012E Behold, a Branch Is Groing / Linda Moeller Unison ith bells, flute, and piano Behold, a Branch Is Groing Linda Moeller CHILDREN S CHOIR MUSIC TERMS OF USE The purchaser of this product is permitted
More informationStarter Packet for Flute
Name: Starter Packet for Flute Note Values h q e A hole note gets four counts in A half note gets to counts in A quarter note gets one count in time time time An eighth note gets a half of a count in
More informationAssessment Schedule 2017 Music: Demonstrate knowledge of conventions in a range of music scores (91276)
NCEA Level 2 Music (91276) 2017 page 1 of 8 Assessment Schedule 2017 Music: Demonstrate knowledge of conventions in a range of music scores (91276) Assessment Criteria Demonstrating knowledge of conventions
More informationThe Comeback Trumpet Player
The Comeback Trumpet Player SAMPLE COPY A complete step-by-step system that includes everything you need to build your embouchure tone technique flexibility tonguing endurance range and musicianship Whether
More informationChristopher D. Azzara Eastman School of Music of the University of Rochester. Richard F. Grunow Eastman School of Music of the University of Rochester
Excerpts from... DEVELOPING MUSICIANSHIP THROUGH IMPROVISATION Christopher D. Azzara Eastman School of Music of the University of Rochester Richard. Gruno Eastman School of Music of the University of Rochester
More informationElements of Music. How can we tell music from other sounds?
Elements of Music How can we tell music from other sounds? Sound begins with the vibration of an object. The vibrations are transmitted to our ears by a medium usually air. As a result of the vibrations,
More informationGrade Level 5-12 Subject Area: Vocal and Instrumental Music
1 Grade Level 5-12 Subject Area: Vocal and Instrumental Music Standard 1 - Sings alone and with others, a varied repertoire of music The student will be able to. 1. Sings ostinatos (repetition of a short
More informationCurriculum Development In the Fairfield Public Schools FAIRFIELD PUBLIC SCHOOLS FAIRFIELD, CONNECTICUT MUSIC THEORY I
Curriculum Development In the Fairfield Public Schools FAIRFIELD PUBLIC SCHOOLS FAIRFIELD, CONNECTICUT MUSIC THEORY I Board of Education Approved 04/24/2007 MUSIC THEORY I Statement of Purpose Music is
More informationTABLE OF CONTENTS. Foreword 2. Review 3. The C 5-Finger Pattern 4. Dynamics and Tempo 10. Tonic and Dominant in C 14.
TABLE O CONTENTS oreord Revie UNIT The C -inger Pattern UNIT Dynamics and Tempo 0 UNIT Tonic and Dominant in C UNIT Eighth Notes UNIT Tonic and Dominant in G 0 UNIT 6 Half and Whole Steps 8 UNIT 7 Major
More informationTABLE OF CONTENTS. Foreword 2. Keyboard Basics 3. The Music Alphabet 11. The Staff 18. Steps in Bass Clef 26. Steps in Treble Clef 36
TABLE OF CONTENTS Foreord UNIT Keyboard Basics UNIT The Music Alphabet UNIT The Staff 8 UNIT Steps in Bass Clef 6 UNIT Steps in Treble Clef 6 UNIT 6 Skips on the Staff UNIT 7 Legato and Staccato UNIT 8
More informationdiptych Paul Schuette Fall 2008 a DUET for harpsichord, electric piano and live electronics
diptych a DUET for harpsichord, electric piano and live electronics Paul Schuette Fall 2008 Program Note! diptych explores the differences beteen ho human beings and machines can process and understand
More informationOn the Chair of the Universe, a Beetle-shaped Glass Buckles. Jacob Adler
On the Chair of the niverse, a eetle-shaped Glass uckles by Jacob dler Thesis Presented in Partial Fulfillment of the Requirements for the Degree Masters in Music Composition pproved pril 2011 by the Graduate
More informationChristopher D. Azzara Eastman School of Music of the University of Rochester. Richard F. Grunow Eastman School of Music of the University of Rochester
Handout 2/Jazz 12/13/06 11:44 AM Page 1 Excerpts from... DEVELOPING MUSICIANSHIP THROUGH IMPROVISATION Don y Christopher D. Azzara Eastman School of Music of the University of Rochester Richard. Gruno
More informationLike Diamonds In The Night
SE-1317 Reproducible Kit Like Diamds In The Night by Teresa Jenngs An Important Notice About Your Rights To Duplicate With purchase of this product, you (e teacher or director) may legally duplicate reproducible
More informationGRATTON, Hector CHANSON ECOSSAISE. Instrumentation: Violin, piano. Duration: 2'30" Publisher: Berandol Music. Level: Difficult
GRATTON, Hector CHANSON ECOSSAISE Instrumentation: Violin, piano Duration: 2'30" Publisher: Berandol Music Level: Difficult Musical Characteristics: This piece features a lyrical melodic line. The feeling
More informationHere I Am, Lord. œ œ œ. j œ. Œ œ I I. sky, rain, flame, j œ. Œ œ œ œ. for them.
2 Based on saiah 6 an Schutte Arranged by Michael ope, S, an Schutte, ohn Weissrock 4 Organ S. % VERSES %??? 4. Melody Harmony(vs. ) Ah. All. ho dell have ept ill set Ah NTRO With maesty (q = ca. 80) in
More informationLove Song. In honor and celebration of the marriage of Judy Schumaker and Richard Larson. Love Song Jocelyn Hagen $3.50 baritone, violin
Love Song Jocelyn Hagen $.50 baritone, violin Love Song for baritone and violin In honor and celebration of the marriage of Judy Schumaker and Richard Larson Love Song Ho can I keep my soul in me, so that
More informationSection 1: The Basic Elements of Music
1 Section 1: The Basic Elements of Music Unit 1.1 Rhythm and melody Page 2 2. The ords are dramatic, the dynamics varied, the tempo/speed changes, the rhythm is free. The teacher should encourage students
More informationAssessment Schedule 2013 Making Music: Integrate aural skills into written representation (91420)
NCEA Level 3 Making Music (91420) 2013 page 1 of 6 Assessment Schedule 2013 Making Music: Integrate aural skills into written representation (91420) Evidence Statement ONE (a) (i) (iii) Shenandoah Identifies
More informationAll rights reserved. Ensemble suggestion: All parts may be performed by soprano recorder if desired.
10 Ensemble suggestion: All parts may be performed by soprano recorder if desired. Performance note: the small note in the Tenor Recorder part that is played just before the beat or, if desired, on the
More informationTuba Clinic. by Sergeant First Class Scott Cameron Field Band Drive Fort Meade, Maryland
The United States Army Field Band The Musical Ambassadors of the Army Washington, DC Tuba Clinic by Sergeant First Class Scott Cameron The United States Army Field Band 4214 Field Band Drive Fort Meade,
More informationStep 1: With your mobile device, open your app marketplace (App Store, Google Marketplace, etc.).
Ho to Use This Book This is a uniue orkbook. From these pages, the student can directly access learning materials available on the internet ith the simple sipe of a mobile device. The revised Primo Music
More informationK-12 Performing Arts - Music Standards Lincoln Community School Sources: ArtsEdge - National Standards for Arts Education
K-12 Performing Arts - Music Standards Lincoln Community School Sources: ArtsEdge - National Standards for Arts Education Grades K-4 Students sing independently, on pitch and in rhythm, with appropriate
More informationLEVELS IN NATIONAL CURRICULUM MUSIC
LEVELS IN NATIONAL CURRICULUM MUSIC Pupils recognise and explore how sounds can be made and changed. They use their voice in different ways such as speaking, singing and chanting. They perform with awareness
More informationLEVELS IN NATIONAL CURRICULUM MUSIC
LEVELS IN NATIONAL CURRICULUM MUSIC Pupils recognise and explore how sounds can be made and changed. They use their voice in different ways such as speaking, singing and chanting. They perform with awareness
More informationPreview Only W PREVIEW PREVIEW PREVIEW PREVIEW EW PREVIEW PREVIEW PREVIE REVIEW PREVIEW EVIEW PREVIEW PREVIEW PREV
2 erformance Notes for THE SERVANT SONG: articularly useful for dedication services or any servant-emphasis service, this fresh setting of The Servant Song is also useful for general orship all year long
More informationPROCLAIM THE MIGHTY POWER OF GOD!
PROCLAIM THE MIGHTY POWER O GOD! is a majestic setting o Isaac Watts timeless lyric to the amiliar and eloved English melody, OREST GREEN. The opening introit and concluding coda should e presented in
More informationJim Bryson Shaffer. To contact us: All That Is Within Me. or call (800) Rhythm section: The.
God With Us To contact us: mail feedback@ praisechartscom or call (800) 695-6293 Words music by arry Graul, art Millard, im ryson Mike Scheuchzer, Nathan Cochran, Robby Shaffer Arranged by Dan Galbraith
More informationThree Latin Prayers. Music by Christopher J. Hoh Traditional texts. Angele Dei prayer to the guardian angel
Three Latin rayers ~ for SSATBB choir, a cappella ~ Angele i prayer to the guardian angel Agimus Tii Gratias prayer of thanks and rememrance Dona Nois acem prayer for peace Music y Christopher J. Hoh Traditional
More informationJoel Martinson (Choral score) Selah Publishing Co., Inc. Hn. J œ œ œ œ œ œ. j œ. 8 5 Choir: (Women or Men) for review only. ni- mi- pax.
Missa Guadalupe o Martson 10-911 (Choral score) Sah Publishg Co. Inc. Orr rom your avorite aler or at.sahpub.com (Or call 00--1.S. and Cada) This document is provid or revie purposes only. It is illegal
More informationle vent gon Perusal only L'aubean
Commissioned by Arts Buau or Continents or Unisong Festival, Ottawa, Canada UNITED IN SONG TOUS UNIS EN CHANSON SSA and piano our hands Fnch translation by Gilles Plante Words and music by Paul Halley
More informationCadences. There are four different types of harmonic cadences: perfect (or authentic) imperfect (or half), plagal and interrupted (or deceptive).
Cadences Cadences generally represent a pause in rhythmic, melodic or harmonic movement. They often combine a momentary standstill of rhythmic motion ith the use of common to-chord patterns to finish a
More informationAs a choral director, improvisation is probably not the first word that comes
G-7180-C10 3/28/08 11:26 AM Page 201 10 The Vocally Proficient Choir: Part To mprovisation and Choral Musicianship Christopher D. Azzara We are all born improvisers. As a choral director, improvisation
More informationPraise the Holy Lamb of God!
raise the Holy Lam of God! Words y Lloyd Larson and Charlotte Elliott, 18 Music y Lloyd Larson Incorporating O WALY WALY, Traditional English Melody 1 Sloly, tenderly q = ca. 56 2 2 p 8 n 12 p rit. 6 8
More informationAngels We Have Heard On High
Choraegus ShareMusic To use this song your choral music mistry, please follo these structions: 1. Make the numer of copies you need. Ensure that this notice appears on each copy. 2. Send a check or money
More informationGrade 1. Improve your theory! Paul Harris. Model answers
Grade 1 Improve your theory! Paul Harris Model ansers 201 by Faber Music Ltd Bloomsbury House 7 77 Great Russell Street London WC1B DA Music setting by MacMusic Cover and page design by Susan Clarke Illustrations
More informationPreparatory Rudiments. The Royal Conservatory Edition. accelerando. martellato. tacet. polyphonic. langsam. grazioso. rubato. vivace.
The Royal Conservatory Official Examination Papers 2010 Edition RCM Examinations and the National Music Certificate Program crescendo adagio maestoso ternary semplice exposition léger accelerando senza
More informationEpistle to be Left in the Earth
Epistle to be Left in the Earth A Setting for Mixed Chorus with Piano by Caroline Arnold Typeset by the Music Typography System For Carol Becker and The Choir of the Unitarian Universalist Church of Kent,
More information2014 Music Performance GA 3: Aural and written examination
2014 Music Performance GA 3: Aural and written examination GENERAL COMMENTS The format of the 2014 Music Performance examination was consistent with examination specifications and sample material on the
More informationLesson Title Author(s) Grade Concepts Page Levels. Little Johnny Brown...Phyllis Thomas... K 2... Call and Response...3
Contents Lesson Title Author(s) Grade Concepts Page Levels Little Johnny...Phyllis Thomas... K 2... and...3 Shape Movement Shape...Kate Kuper...K 6... ABA...6...Brian Hiller and Don Dupont... 1 2... ABA...8
More informationChapter 8 'Triads in First Inversion'
hapter 8 'Triads in First Inversion' o Learning Ojectives. y the end of hapter 8, students ill e ale to: > Understand the use of first inversion triads as a means of activating melodic motion in the ass
More informationMISSA PACEM. Penitential Act. heal the con - S, A, Assembly
revie e vi Moderato h = 0 You ere sent Cantor e MISSA ACEM enitential Act to heal con - n trite L Randolph Bain heart: e Lord, have mer - cy Ó S, A, Assemly Sel elec ec Lord, have mer - et, B ec cy Ó 10
More informationIveson Primary School Year 1 Subject - Music
Year 1 Subject - Music Singing - linked to Magical Me topic focus - character and body songs Take part in singing, accurately following the melody. Follow instructions on how and when to sing. Make and
More informationPreview Only W PREVIEW PREVIEW PREVIEW PREVIEW EW PREVIEW PREVIEW PREVIE REVIEW PREVIEW EVIEW PREVIEW PREVIEW PREV
When I Survey the Wondrous Cross (ith its marriage of Isaac Watts s text to Loell Mason s adapted hymn tune) has long een a enchmark congregational hymn across virtually all Christian denominations in
More informationStarter Packet for Trumpet
Name: Classroom Teacher: Starter Packet for Trumpet Note Values h q e A hole note gets four counts in A half note gets to counts in A quarter note gets one count in time time time An eighth note gets
More informationLegacy Chorus Audition Information and Requirements
Legacy Chorus Audition Information and Requirements 1 Be prepared to demonstrate your vocal range on a neutral syllable to 5 note exercises as attached 2 Be prepared to sing your part(soprano, alto, tenor
More informationTEST SUMMARY AND FRAMEWORK TEST SUMMARY
Washington Educator Skills Tests Endorsements (WEST E) TEST SUMMARY AND FRAMEWORK TEST SUMMARY MUSIC: CHORAL Copyright 2016 by the Washington Professional Educator Standards Board 1 Washington Educator
More informationVincent Lucid Arranger, Composer
Vincent Lucid Arranger, Composer nited States (SA), ennellville About the artist Vin Lucid is spending the second half of his life folloing a musical road-not-taken 50 years ago A classic over-achiever,
More informationShuksan Story: An Original Soundtrack Composition
Western Washington University Western CEDAR WWU Graduate School Collection WWU Graduate and Undergraduate Scholarship Fall 2018 Shuksan Story: An Original Soundtrack Composition on Ross jon.mahan.ross@gmail.com
More informationAssessment Schedule 2016 Music: Demonstrate knowledge of conventions in a range of music scores (91276)
NCEA Level 2 Music (91276) 2016 page 1 of 7 Assessment Schedule 2016 Music: Demonstrate knowledge of conventions in a range of music scores (91276) Assessment Criteria with Demonstrating knowledge of conventions
More informationAPPALACHIA RE-IMAGINED: JAZZ SEXTET ARRANGEMENTS OF TRADITIONAL APPALACHIAN FOLK SONGS. Caleb Henry McMahon. Honors Project
APPALACHIA RE-IMAGINED: JAZZ SEXTET ARRANGEMENTS OF TRADITIONAL APPALACHIAN FOLK SONGS by Caleb Henry McMahon Honors Project Appalachian State University Submitted to The Honors College in partial fulfillment
More informationPreview Only. Legal Use Requires Purchase CONCERT STRING ORCHESTRA. From OK Computer Paranoid Android. Grade 3½
CONCERT STRNG ORCHESTRA Grade 3½ rom OK Computer aranoid Android Words and Music by THOMAS YORKE, ONATHAN GREENWOOD, HL SELWAY, COLN GREENWOOD and EDWARD O REN Arranged by ERC GORAN NSTRUMENTATON 1 Conductor
More informationPerusal only. So - leil. go sur. les flots. Vo-guons
Commissioned by Arts Buau or Continents or Unisong Festival, Ottawa, Canada UNITED IN SONG TOUS UNIS EN CHANSON SATB with optional tble choir and piano our hands Fnch translation by Gilles Plante Moderately,
More informationFolksongs from Around the World
Smule Folksongs from Around the World by Debbie Cavalier Contents Au Clair De La Lune, France Ode to Joy, Germany 9 Wimoeh (Mbube), Africa 10 When the Saints Go Marching In, USA Amazing Grace, African-American
More informationMusic Notation and Theory for Intelligent Beginners
Music Notation and Theory for Intelligent Beginners by Jono Kornfeld Cover art by Jason Dullack 2001, revised 2005 Jono Kornfeld All rights reserved. No part of this book may be duplicated in any form
More informationMusic Standards for Band. Proficient Apply instrumental technique (e.g., fingerings, bowings, stickings, playing position, tone quality, articulation)
Music Standards for Band Product Performance 2. Develop and apply instrumental music skills to perform and communicate through the arts A. Instrumental Performance Skills Apply instrumental technique (e.g.,
More informationCommunity of Christ. Ó Œ œ Com - (Com) - (Com) - œ œ œ œ. œ œ. œ œ. œ œ. œ œ. will be done, live and cry. own, door sound done,
2 Shirley Erena Murray Comnity iocese Brenod (Racial Justice Sunday) escant by Craig Kingsbury escant Melody Keyboard 1 make 2 past 3 hom sh INTRO (q = ca 96) s Cross Chur ch s ord st s ill 6 SMPLE 1 2
More information