Franz Schubert wrote "Die schöne Müllerin" (The Beautiful Maid of the Mill) originally for high voice and piano. The love story of optimism, despair and tragedy between the miller s boy and the beautiful maid continues to fascinate and inspire composers, performers and music lovers today. This work presents an arrangement of Schubert s "Die schöne Müllerin" for Double Bass and Piano. Transcriptions and arrangements in the nineteenth century were largely intended to supplement an instrument s literature, and continued to be part of the instrument s literature in the twentieth century. Chapters 1 to 4 discuss the significance of presenting the richness and art of Schubert s musical setting of Wilhelm Müller s poems through this new medium: the double bass. Followed by a brief historical context of transcription and arrangement, songs of "Die schöne Müllerin" are analyzed and such aspects of the arrangement as transpositions, revoicings, articulations, dynamics and performance practices explained. The book closes with all 20 songs of Schubert's cycle arranged for Double Bass and Piano at the appendix.
Please note that the content of this book primarily consists of articles available from Wikipedia or other free sources online. Rudra is a Singaporean band which was formed in 1992, and plays a style of black metal-influenced death metal with interpolations and extended passages of traditional Carnatic music. Additionally, the lyrical content is derived from Hindu Vedic literature and philosophy with some songs incorporating ancient mantras (shlokas) into their song structures. The band describes this style as Vedic metal. Rudra was formed in mid-1992 as a trio, then made up of Kathir (bass, vocals), Shiva (drums) and Bala (guitar). Back then, the band was known as Rudhra. A fourth member, Selvam, was recruited to supplement Bala on guitar. With this line-up they released a 4-track demo, The Past, in 1994. Prior to this release, Rudhra was also featured in a few underground death metal compilation albums with Singaporean death metal bands.
The understanding of the musical techniques of composition cannot be reduced to a handbook of simplified rules. Music is complex and ever changing. It is the purpose of this book to trace the path of musical growth from the late Romantic period to the serial techniques of the contemporary composer. Through the detailed analysis of the musical characteristics that dominate a specific style of writing, a graduated plan is organized and presented here in the form of explanations and exercises. A new analytical method substitutes for the diatonic figured bass and makes exercises and the analysis of non-diatonic literature more manageable. The explanations describing each technique are thorough. They are designed to help the teacher and the student see the many extenuating circumstances that affect a particular analytical decision. More important than a dogmatic decision on a particular key center or a root tone, for example, is the understanding of why such an underdeterminate condition may exist.
There is no standard method for determining basic voice classification (soprano, alto, tenor, bass) of high school choir students. Most practices seem to be based on tradition rather than research, and there are conflicting opinions about which criteria should or should not be considered, as well as which are the most important. This book compiles those opinions on voice classification (often hidden in the vast expanses of a comprehensive choral methods textbook) for comparison and analysis. In addition to the examination of scholarly literature, results of a survey of high school choir directors from across the state of Texas are included. This book focuses on the high school singer and would be particularly useful to high school choir directors and those in music teacher preparation classes.
The Spanish composer and pianist Isaac Manuel Francisco Albéniz&#8217; (y Pascual) fascinating and eventful biography is informatively described in the relevant specialist literature; with a few clicks, though, you might also do some successful research on the internet. Albéniz is considered to be the father of Spanish national music per se. Incorporating rhythms and melodies typical of Spanish folk music, he succeeded in embedding folcloristic elements in virtuoso compositions for the piano. Sevilla is the third movement of the Suite Española No. 1 for Piano, Op. 47. The final version of the suite contains eight characteristic pieces. The title of each one of them refers to a geographical region or city in Spain &#8211; including Cuba! The folcloristic and improvisational character of Sevilla results from memorable motifs with characteristic embellishments in the melody, - the imitation of other instruments (guitar, castanets, &#8230;) in the setting for piano, asymmetrical phrases,the unexpected appearance of new motifs,noticeable fluctuations in tempo and dynamics,unanticipated modulations, the &#8220;faulty&#8221; compositional structure (e.g. octave parallels between melody and bass in measure 11), and especially from the rhapsody-like middle part with its virtuoso and at the same time cantabile melody in the upper part. The arrangement presented here is notated one whole tone lower than the original version and has been written according to the proven principle of translating: &#8220;as true to the original as possible &#8211; as free as necessary&#8221;. The movement can be performed as a quintet but also in a choral/orchestral instrumentation. In the latter case, the middle part with the soprano saxophone solo (measures 76 &#8211; 79 and measures 104 &#8211; 110) is recommended to be executed by five soloists. Instrumentation: 5 saxophones (SAATBar) op. 47
Familiar to many as the soundtrack to the film Eyes Wide Shut, Dmitri Shostakovich's Waltz No. 2 from the Suite for Variety Orchestra - which is better known as Jazz Suite No. 2 - has mysterious, lascivious qualities that call to mind circus or variety music. Stefan Potzmann has arranged this dramatic Russian performance piece for four clarinets, thus adding another wellknown classic to the instrumental literature now available. - Effective Russian performance piece, arranged for clarinet quartet - Easy to moderately difficult literature for Ensemble - Famous title music from the film 'Eyes Wide Shut' Instrumentation: for four clarinets (3 clarinets in Bb, bass clarinet in Bb)
The detective-Tango as cult-song of the 60s in a parody for soprano- alto and bass recorder, even better for alto, bass and subbass recorder. The Waltz Tea for Three which roots llie in the Jewish folksong Hevenu shalom aleichem, the overtone voice can be well set with an alto recorder. The series Ensemble Dreiklang Berlin is an attractive collection of Iiterature for recorder trio. The wide range of stylistically varied pieces features arrangements and original compositions for both classical and popular music with the various instruments of the recorder family being combined in different fashions. Through this professional presentation of sophisticated literature for recorder, Ensemble Dreiklang Berlin has introduced a new style in recorder literature which motivates and inspires young players and is also well received by the audience. Instrumentation: for 3 recorders (SAB/AAB)
'From Mozart to Villa-Lobos and South African pop, Dodd brings out Walker's gift for illumination; best of all, these conversations have you searching out new-found fare as well as hearing familiar and forgotten music anew'. -- William Dart 'A wide-ranging and catholic view of the music-listening experience for our time - Walker is an ideally active listener, with Dodd an equally ideal interlocutor'. -- Martin Lodge Born and educated in Scotland, Marshall Walker lectured in English and American literature at Glasgow University from 1965 to 1980 after a spell at Rhodes University in South Africa. From 1981 until 2006 he was Professor of English at the University of Waikato in New Zealand. As Dean of Humanities he initiated and oversaw the establishment of Music at the University. An occasional broadcaster on music and literature, he introduced, for Radio New Zealand and the Australian Broadcasting Corporation, concerts of the 2005 Sydney Sibelius Festival in which Sibelius's symphonies were performed by the Sydney Symphony Orchestra conducted by Vladimir Ashkenazy. He lives in Hamilton, New Zealand, with his wife, the Brazilian writer, Cláudia Pacce. Senior Music Producer for Radio New Zealand Concert, Tim Dodd was born and raised in Dunedin, New Zealand. His degree is in Physics but his primary passion was always for music. He landed his dream job at Radio New Zealand in 1990 and he's been there ever since, overseeing the broadcast and recording of live concerts and producing countless spoken features about music. Included among these are many interviews he has conducted with New Zealand and international musicians such as the pianist and writer Charles Rosen, violinists Shlomo Mintz and James Ehnes, American composer Ellen Taaffe Zwilich, cellist Raphael Wallfisch, jazz bass player Dave Holland and Brazilian guitarist and composer Egberto Gismonti. He lives in Auckland, New Zealand, with his wife and children. For over twenty years the two friends have been talking to each other about music. Tim Dodd produced Walker's award-winning Letters to Sibelius for Radio New Zealand Concert, the programmes reaching listeners in Australia and Scotland as well as New Zealand and forming the basis of Walker's book, Dear Sibelius: Letter from a Junky published by Kennedy and Boyd in 2008. The Music for Life conversations that followed were broadcast by Radio New Zealand in December 2009, but the talk went on. This book presents the ongoing conversations in the hope that readers will like to join in.
Written exercises-The Second Edition includes new exercises for each chapter that reflect changes in the text, in particular changes in the chapters on fundamentals and diatonic harmony. Exercises require students to fill in short harmonic progressions, complete sequential patterns, realize figured basses, harmonize melodies, analyze excerpts from music literature, and compose original music. Keyboard exercises-Professor Gauldin's keyboard exercises help students make the transition from theory to ear training and performance. Students learn to hear various intervals, chords, and harmonic progressions and to master transposition, figured bass, and melody harmonization. All keyboard exercises have been collected in a separate section at the end of the text.