The second example is common for a concert band or wind ensemble piece. Note the inclusion of the saxes after bassoon for this band work. Note also that the separate euphonium part is attached to trombone with a plus sign. For orchestral music, saxes are at the end see Saxophones below. Multiples, if any, are not shown in this system. The numbers represent only distinct parts, not the number of copies of a part. In the third example, we have a rather extreme use of the system. Note: This system lists Horn before Trumpet. This is standard orchestral nomenclature.
Also, it should be noted that Euphonium can be doubled by either Trombone or Tuba. Typically, orchestra scores have the tuba linked to euphonium, but it does happen where Trombone is the principal instead. Saxophones , when included in orchestral music they rarely are will be shown in the "other instrument" location after strings and before the soloist, if any. Letters that are duplicated as in A in this example indicate multiple parts. Hickeys Music Center. Destined to become standard recital and contest literature for years to come!
Brass Instrumentation Codes Following many of the titles in our Brass Ensemble catalog, you will see a set of five numbers enclosed in square brackets, as in this example: Description Price Copland Fanfare for the Common Man [ This is a special instrumentation adopted and perfected by the Philip Jones Brass Ensemble.
He stumbles, tippy-toeing, Through the hazel-wood into the valley, Creeping very close to a wall, Where the glow-worms sit.
There must be a wedding feast in there. I'll just take a peep inside! The elf bangs his head on a hard stone! Elf, have you had enough? Ariettes Oubliees Cest V ex t as e This is languorous ecstasy. This is amourous fatigue This is all the rustling of forests In the embrace of the breezes. This is, in the gray boughs, The chorus of small voices. Oh, the faint murmur cooly, It twitters and whispers, It resembles the soft cry Which the ruffled grass exhales. You might say — under the water which whirls- It is the muted rolling of pebbles!
This soul which laments In this sleeping plaint, It is ours, is it not? It is mine, say, and yours Which breathes this humble anthem, On this mild evening, so softly. II pleure dans mon coeur The tears in my heart Are like the rain in the city. What is this languor Which penetrates my heart? Oh soft sound of rain, On the earth and the roofs!
Oh the sound of the rain! The tears without reason Fall in this tormented heart. No treason? This mourning has no reason. This is the deepest pain, To know not why, Without love or hate, My heart holds so much pain. U ombre des arbres The trees in the misty river are reflecting Like vanishing smoke, While in the air, among the real branches, The turtle doves lament. How much, o voyager, this bland landscape Mirrors your own pale self, And how sadly they weep in the high branch Your drowned hopes! Chevaux de bois Turning, turning, good wooden horses, Turn a hundred times, turn a thousand times.
Turn often, and turn always, Turn, turning to the oboes, The child all red and the mother white, The boy in black and the girl in rose, The one choosing the other pleasing, Each one spending his Sunday sou. While with all this turning The sly rogue casts a fleeting glance.
Turn to the victorious trumpet! It is amazing how it whirls you, To be in this silly circus, Without stomachs and dizzy heads, Feeling badly, yet happy in the masses; Turn, dummy horses, without the need Of aiding spurs To make you gallop round. Turn, turning without hope of hay, And hurry, horses of their dreams, Already the supper bell rings The night falls and chases the crowd Of gay drinkers, whose thirst has made them hungry. Turn, turning!
The sky in velvet Decorates itself slowly in gold stars, The church bell rings sadly. Turn to the joyful drumming, turn. Do not tear it apart with your two white hands, And may this humble offering seem sweet to your lovely eyes. I come, still covered with dew, Which the morning wind has turned to frost on my brow. Allow, that my fatigue, lying at your feet, May dream of the cherished moments that will refresh it.
On your young breast let me rest my head, Still filled with music from your last kisses; Let it be soothed after the blissful storm, And let me sleep a little, while you rest. Spleen Aquarelles The roses were all red, And the ivy all black. Beloved, when you become a little restless, All my despair is reborn. The sky was too blue, too tender, The sea too green, and the air too mild; I'm always afraid of what might come, Of some atrocious flight of yours! Of the green-leaved holly, And of the shining square trees, I am weary, And of the endless countryside, And of everything, except you.
VI Tu pupilla es azul Bequer Your eyes are blue and when they laugh, their gentle clarity reminds me of the ocean reflecting radiant mornings. Your eyes are blue and when they cry, the transparent tears seem to be the drops of dew on a violet. Your eyes are blue and in their depths shines a point of light which reminds me of the evening's first star.
La mi sola, Laureola "My own Laureola," the captivated Leriano says, "although my pride is wounded by thy hand, yet it is the only hand in the world for me! I would have eleven thousand, and then eleven thousand more. If no one knows how many, we can start over again. Del Cabello mas sutil Of your soft hair which you wear in braids, I will make a chain to draw you to my side.
I wish I were a jug in your home, to kiss your lips whenever you take a drink. Cantares Ah! The farther away I am from you the closer I feel to you. Your image is ever before me like the shadow of my thoughts. Tell me again that you love me, because yesterday in amazement I listened to you without hearing you and I looked at you without seeing you.
VII Telephone Aria from The Telephone Ben is trying to propose marriage to Lucy but is continually interrupted by her passion for telephone conversations.
At the end of the opera, Ben, in despera- tion runs out to a telephone booth and asks for Lucy's hand. She accepts! Robert Schumann Etude-Tableau, op. Bach Sonata No. Mozart Introduction and Rondo Capriccioso, op. Weep you no more, sad fountaines Away with these self-loving lads Flow, my tears What if I never speede? Gardner and Mr.
Anthology of Italian song of the seventeenth and eighteenth centuries
Pomeroy II Tonadillas F. Gardner, Mr. Pomeroy, Mrs. Monson, Mr. Gardner and Mrs. Monson V Sonata No.
Laycock, director p. Ralph G. March p. Each guild per- formed one play from the cycle on a cart called pageant. This cart moved around the town from place to place, and on it the performance had to be entirely contained. The scenic devices, though carefully worked out, had to be extremely simple. We have tried to preserve this medieval "homemade" approach.
We hope you will sense the sincerity and faith with which these early nonprofes- sionals dealt with the miracle of the flood, the rainbow, and above all, with the obedient, tender relationship which God had with his prophet, Noye. You play an important part in this performance. As part of the congrega- tion, you will sing three hymns which will be rehearsed before the per- formance begins. The words and music have been inserted into the program. Please leave the copy of music at the door as you leave the tabernacle. Wood Mrs. Special commendation is extended to the following ladies of the BYU Opera Guild for their presentations in the public schools: Mrs.
Max Rogers, chairman; Mrs. Dean Austin, Mrs. James Bean, Mrs. Lewis Bjarnson, Mrs. George Erickson, Mrs. Jarolde Harris, Mrs. James Harvey, Mrs. Cloyd Hofheins, Mrs. Gary Jense, Mrs. Richard Lohner, Mrs. Paul Losee, Mrs. James Matheson, Mrs. Ruby Nicol, Mrs. Keith Roos, Mrs. Charles Schumann, Mrs. Milton Sealy, Mrs. Karl Snow, Mrs. Sorensen, Mrs. Harold Speirs, Mrs. Blaine Steed, Mrs. Elden Swenson, Mrs. Nelson Taylor, Mrs. Darwin Thomas, Mrs. Eben Visher, and Mrs.
- The Witches in the Wishing Well?
- Fluent Entity Framework (Fluent Learning);
- How to Appreciate Music?
- User activity!
Babcock, Brenda C. Oaks, Dallin D. O'Brien, Candy A. Ortega, Camille Prete. Wood, Ben Wood, R. Gates Music Theatre Workshop productions of a fifteen-minute opera about jealousy by Thomas Pasatieri and Antonia's Act from the Offenbach lyric opera. Pardoe Drama Theatre A full production of an original musical romanticizing the Mormon belief in a pre- existence — the promises that are made there and the resulting mix-ups that occur in earth life. A thirty-minute passion music drama with dance and chamber orchestra based on the William Butler Yeats play.
Music by Thomas Pasatieri. A full production of the brilliant opera buffa by Gaetano Donizetti, conducted by Wolfgang Vacano. A full production of two charming musical comedy satires: The Diary of Adam and Eve and Passionella, which is about a chimney sweep who becomes a glamorous movie star.
Anderson in three movements Mr. I Var. II Var. Ill Var. Wright Wednesday No. Boren Miss Fairbanks, Mr. Quiet motion IV. The first movement incorporates a majestic bipartite prelude and fugue. In the second, a warm, ingratiating chorale fantasia is followed by a bridge to the final jubilant "Alles was Odem hat," which, in its triple rhythm and abandon, is one of the most stirring examples of Bach's genius.
Except for this final movement, the entire motet is written for eight-part double choir. Incenerite spoglie Beloved ashes 2. Ditelo, o fiumi Cry, o rivers 3. A rare example of a large-scale work for unaccompanied double choir, the work shows Poulenc's great skill in writing for voices. With music now fierce, now tender, he explores the wide gamut of our emotions. The poems by Paul Eluard extol liberty at a time when both the poet's and the composer's native land was in bondage by Germany's occupation of France during World War II. The work was performed by the BBC in , and, to our knowledge, this is its first American performance.
Thatcher, Mrs. Bush, Mr. Smith Nocturne, op. Chesley, director p. Hoffman Budge T. Porritt, Jr. Peterson, Jr. Gregory Brighton Larry E. Christenson G. Brent Keeler C. Bach Canon in B Major, op. Andante sostenuto Fifteen Pieces, op. Antiphon II: His left hand is under my head, and his right hand doth embrace me. L -No. G: "Lobet den Herrn" I.
Kendor Master Repertoire (Trombone Solo Coll | J.W. Pepper Sheet Music
Bach Nellie Hart, soprano recorder Suzanne. Pornti, Jr. As composer-in-residence at BYU for seven years, he has written seven major works for BYU performing groups, over thirty published piano pieces, numer- ous hymns, songs, choral pieces, and service music for the Church. He founded the LDS Composers Association now the Association of Mormon Composers and Performers , edited its journal for four years, and remains as chairman of its board of advisers.
He serves as chairman of the composition task committee for the Church Music Department. As an educator, he has taught music theory and composition at BYU for seventeen years, and many of his composition students teach at major universities. He is one of the innovators of the Expanding Musicianship Program, a promis- ing new approach to the teaching of comprehensive musicianship, which has received national attention. In addition, as a leading exponent of comprehensive musicianship in keyboard instruction, he has carried on workshops across the nation in music education conventions at both the regional and national level.
His writings have appeared in national publications, and articles about him and his works have appeared in Music Journal, Who's Who in the West, The International Index, The Index of American Composers, and other publications. In the LDS Church, he has served as a high councilor, bishop, and leader in Scouting activities, as well as a missionary to Switzerland and Austria. He is the father of seven children. A Brussels music critic wrote of his music: In this highly varied concert the polyphonists of the Renaissance, as well as Verdi and Schubert, were pitted against a young American — Merrill Bradshaw, who gave proof of technique and inspiration in his Three Psalms.
What a pleasure it is to write that it is on this con- temporary page that the greatest success was achieved. In significance, it compares with God's covenant with Abraham, the deliverance of Israel from Egypt, and the exodus of Lehi's family to the new world. It marks the beginning of the last chapter in God's dealings with mortal man on the earth. Matthew Passion. Such works give opportunity to contemplate great events through the union of text and music on a grand scale. It is fitting that the restoration of the gospel, with its far-reaching effects, should also be represented in this medium.
Modern spectator entertainments have separated the audience more from being an active participant. The Restoration brings to the listener a greater participation, and, hopefully, more stimulation and enjoyment of the total ex- perience, by involving the audience in the singing of portions of the oratorio. Well-known hymns are introduced from time to time in which the audience is encouraged to take part. This has a twofold effect: first, the audience's partici- pation gives it maximum opportunity to "get into the spirit" of the performance; second, of artistic necessity the composer has written music that is compatible with the style of the hymns.
The music of The Restoration is thus made quite accessible to the average concert-goer. The facilities of the de Jong Concert Hall were a factor in the composition. The opportunity to place choir and orchestra on stage, with an "angelic choir" above the audience and out of sight, has made possible several effects which could not have occurred without these facilities.
It was the result of many things: a lifelong ambition to do a large major work, a sabbatical leave, a love of the gospel which the oratorio treats. The real catalyst, however, was a request by John R. The work is dedicated to President Harold B. Lee, who graciously accepted the dedication some months prior to his unexpected death.
We know he is coming To gather his sheep And lead them to Zion in love; For why in the valley Of death should they weep Or in the lone wilderness rove? Believe, tis true: yet should a dread besiege thee doubt not, tis vane tear my heart open, and there inscribed you'll see Amarilli, Amarilli, Amaraillys My sweetest love art thee. Alma del Core by Antonio Caldara Lyrics: Alma del core, spirto del' alma, Alma del core, spirto del' alma, Sempre costante t'adorero, T'adorero, t'adorero, T'adorero, t'adorero.
Alma del core, spirto del' alma, Sempre costante t'adorero, Sempre costante t'adorero, Saro contiento, Nel mio tormento, Se quel bel labro baciar potro. Se quel bel labro, Se quel bel labro baciar potro. Alma del core, spirto del' alma, Alma del core, spirto del' alma, Sempre costante t'adorero T'adorero, t'adorero, T'adorero, t'adorero. Alma del core, spirto del' alma, Sempre costante t'adorero, Sempre costante t'adorero. Translation: Soul of my heart, spirit of my soul, Always faithful, I will love you.
I will love you. To be content, Do not torture me. How I would faint to kiss your beautiful lips. Sebben Crudele by Antonio Caldara Sebben crudele mi fai languir. Sebben crudele mi fai languir. Sempre fedele, sempre fedele ti voglio amar. Sempre fedele ti voglio amar. Con la lunghezza del mio servir. La tua firezza, la tua firezza, Sapro stancar. La tua firezza sapro stancar. Translation: Although, cruel one, you make me languish, Forever faithful, I want to love you.
With the length of my service may your pride wear down. Translation: I am victorious, victorious over my own heart. Witness my tears no longer, Love has disbanded your vile bondage. Already the unkindness has damaged me with so many looks. Dispose of this fraud torment and no longer have the fire of love burning inside. Beautiful lighting does not come more deadly as dart that kills my chest in sorrow nor torment I know no more.