It was no longer woodwinds and brass winds and strings.
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The marching band in attendance couldn't play because the woodwinds froze.
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But, the Chi-town rapper was happy to talk strings and woodwinds!
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In the rotunda, a high-school orchestra was playing a piece for woodwinds.
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"I was looking for clarinets, woodwinds, brass, sousaphones," he said the other day.
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This wily, offbeat group features four woodwinds, two cellos, viola, bass and drums.
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"Some variations are clearly inspired by the organ or woodwinds," Ms. Rana said.
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The horns and drums and woodwinds performed a stunning medley of Daft Punk's greatest hits.
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The individual woodwinds have seldom sounded so eloquent, the massed strings warmer and more mellow.
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Somewhere between the patchworks of woodwinds and drifting piano melodies, there was room for piece.
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Over some euphoric woodwinds and pummelling drums, he fantasizes about the insufficiency of his fantasies.
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Keyboards, woodwinds, clinking percussion, static, bits of beatboxing and peculiar samples all come and go.
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It's like a symphony: "Remove the violins and the woodwinds," Dr. Klee wrote in an email.
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The fluttering woodwinds that break in came across like rustling, slightly ominous sea birds and mists.
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Nothing was overblown, and the balances among the various sections, especially between brasses and woodwinds, were exquisite.
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It calls for a huge orchestra, offstage brass and woodwinds, three choirs, five soloists and a narrator.
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It calls for a huge orchestra, offstage brass and woodwinds, three choirs, five soloists and a narrator.
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It begins with a slippery tune, woodwinds dominant, as tart chords punch out accents and off beats.
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Yet woodwinds hint at Arab reeds and exotic dances, music the pilgrim has encountered on his travels.
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The orchestra consists largely of strings and percussion with woodwinds and computer-generated sounds (some very menacing buzzing).
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The bucolic middle section of the movement was vividly rendered, with rustling strings and woodwinds conjuring twittering birds.
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He fronted and played woodwinds in the Raw Soul Express, a group that mixed funk with elegant musical compositions.
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The other three movements offered relief, especially the second, where there were wonderfully lyrical moments and fine exchanges among solo woodwinds.
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His accordion could still sting, but was often softer, naturally taking its place within and alongside the woodwinds and the strings.
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Air travel regularly threatens you with squalling babies, overly talkative seatmates and actual physical violence, and you're complaining about smooth woodwinds?
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The woodwinds, whose penetrating tones gave them an acoustical advantage, waylaid tourists with the quintet version of Beethoven's Sextet Opus 71.
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A marsh of brass and woodwinds set the stage, then John Medeski's swirling drawbar solo carries everything off into the ether.
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The proportions between the woodwinds and horns — which are usually too loud in the pit — and the strings are ideally balanced.
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He will perform with three longtime associates: T. K. Blue on woodwinds, Alex Blake on bass and Neil Clarke on percussion.
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Ms. Lahiri, writing in Italian, at this point seems only a lesser version of herself, a full orchestra reduced to tentative woodwinds.
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The superb principal woodwinds were positively melting in their hushed choirs, with the oboist Richard Woodhams doing the heavy lifting in solos.
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Her debut album, Varmints, is an onslaught of sonic genius, featuring percussive guitar tangling with woodwinds and midi keyboard overlayed by strings.
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Even the inner movements seemed reluctant to provide gentle contrast, however much space the conductor gave his principal woodwinds, lovely as ever.
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The strings, led throughout the evening by Sheryl Staples, the principal associate concertmaster, were strong, as were the woodwinds, mostly second-stringers.
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We gather around a small crack in the door and watch the rest of the concert from behind the woodwinds' staging area.
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The musicians -- students from Bangkok's Princess Galyani Vadhana Institute of Music -- warm up, the sounds of brass, strings, woodwinds and percussion filling the air.
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Flipping through the voices on his Emu Proteus/217 orchestral synthesizer, he tried various instruments—violins, flutes, woodwinds, brass, voices, some more exotic things.
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The orchestra played with athleticism and verve, but little subtlety; playful interchanges among the woodwinds were muted behind a heavy curtain of string sound.
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The woodwinds in the proggy "I Am Chemistry" belie an attempt at a psychedelic Beatles song that the band is never quite able to sell.
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There are thousands of such instruments, from woodwinds to pianos, but many of them are too valuable to take apart, or too fragile to display.
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After gremlins lurk about in low strings and reedy woodwinds, the movement shifts into a manic Allegro, during which phrases fracture into shards and bits.
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The style is symphonic rock or chamber pop — strings, drums, keyboard, woodwinds and more that twine together in a sound that is undulating and lush.
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It's no FL Studio, but it's fun and you get to choose between a few instruments like a piano, strings, woodwinds, a synth and a marimba.
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Chirping synths, sprightly woodwinds, and jittery juke percussion wow and flutter with all the life and biodiversity of a rainforest floor, baking in the summer heat.
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Woodwinds tie themselves in knots, guitars sizzle and splat, basslines thump to their own beat, harmonicas flutter in the wind, defining a style of rich, peaceful beauty.
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It begins with what seems a disorienting call to attention: thin, reedy chords, sometimes sustained and sometimes slippery, are played in high registers by woodwinds and percussion.
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The musicians play all the roles, so a severe Mary Fay Coady takes on both Chaya and violin, a puppyish Chris Weatherstone handles both Chaim and woodwinds.
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As censorship spread throughout the country, authorities struggled to decipher the band's politics through its intricate costumes and quirky, shifting arrangements of guitar, harpsichord, brass, and woodwinds.
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Ms. Cook's remarkably simpatico musical director and pianist, Lee Musiker, led a band that included Tony Tedesco on drums, Dave Riekenberg on woodwinds and Jay Leonhart on bass.
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But all extraneous noise was blocked by the loud, joyous sounds produced by a small procession of Highland bagpipers and bass woodwinds holding court in Long Island City.
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Katherine Hoover, a composer and flutist who wrote not only for her instrument but also for strings, piano, woodwinds, full orchestra and voice, died on Friday in Manhattan.
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It's got a subdued funk pulse hinting at Sly and the Family Stone's "Family Affair," interlaced with burbling chamber-pop woodwinds; it never gets anywhere near too pushy.
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He emphasized the unnerving undercurrents of the music's seemingly rustic moments, like the chirping, restless woodwinds and sleigh bells that open the first movement and keep coming back.
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Ren-Faire woodwinds, choirs, and caterwauling Yeasayer has always been an intellectual band, and their strength lies in their ability to make experimental compositions sound like digestible pop songs.
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It is a major post: He gives the other players the A pitch that they tune to, serves as de facto leader of the woodwinds and regularly plays solos.
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His March release Ward Unbending—full of gasping woodwinds and dazed electronics—feels like a yawn on a lazy afternoon, a contented exhale from a guy who deserves his leisure.
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The group, led by the bassist and composer Michael Formanek, was playing "Echoes," a dark-hued tune in a swinging mid-tempo, defined by cagey dialogue between woodwinds and brass.
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As always, you could bask in this magnificent orchestra's resplendent sound — the warmth and body of the strings, the reedy tang of the woodwinds, the dark richness of the brass.
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Life Cycles include Rogerio Boccato on percussion, Jon Cowherd on piano, Monte Croft on vibraphone and vocals, John Hart on guitar, Myron Walden on woodwinds and Doug Weiss on bass.
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Mr. Valcuha, who made his Philharmonic debut in 2012, seemed to have reasonable command of the orchestra, if not of the hall, admitting some blatant sounds, especially from the woodwinds and brasses.
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Despite its short five-and-a-half-minute score composed and produced by Belew, the film packs a powerful blend of both virtual and live instruments, including strings, woodwinds, guitars and synthesizers.
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The brasses and woodwinds could snort, snarl, bray and swoon with the best of them, as appropriate, and the percussion section, which drives much of this work, was suitably raucous and disruptive.
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His beats—the rhythmic and instrumental tracks that form the base for most hip-hop songs—also incorporate melodic elements derived from synthetic keyboards and woodwinds, to give a sense of spaciousness.
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Erg Herbe's similarly built around woodwinds and synthetic drones, but it's a gleeful sort of centeredness—the gleaming sunrises of new age tapes past rendered in crayon and gel pen instead of watercolor.
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And the Carpenters' cover, released on their epochal Christmas Portrait, chills and captivates, as the immaculately expert studio-perfect arrangement deploys woodwinds, strings, and glossy, burbling electric piano to construct several nostalgic layers.
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The tension wasn't just because the Fifth House Ensemble was going to perform a game's score; along with the strings and woodwinds, people would also be playing through Journey as the ensemble performed.
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This Saturday's program, "Wondrous Winds," the last of the season, focuses on the flute, the clarinet and the oboe — in other words, the wonderful woodwinds — along with the French horn and the piano.
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Dreary-eyed synth lines and wheezy woodwinds fill out this technicolor self-portrait of the New York artist John Also Bennett, a frequent collaborator of ambient greats, but seldom a releaser of solo music.
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Nikolaj Korndorf's "Music for Owen Underhill and his Magnificent Eight" (1997), for a small but highly potent ensemble, opens in a pummeling mood, with swirls of woodwinds rising off an angry musical dust storm.
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Nikolaj Korndorf's "Music for Owen Underhill and his Magnificent Eight" (1997), for a small but highly potent ensemble, opens in a pummeling mood, with swirls of woodwinds rising off an angry musical dust storm.
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The third song, which recalls when "there was no time for music," becomes fitful and dense, with slinky woodwinds and treading bass lines, though Mr. Abrahamsen seldom deploys the entire orchestra at once in this work.
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The program's opening work, Dvorak's exuberant "Carnival" Overture, unfolded with Technicolor flourishes, lovely playing from the woodwinds and strings in the more introspective passages and a manic energy in the final section that bordered on unhinged.
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According to composer Anna Drubich, "Harold" centers around guitar and banjo, "The Big Toe" is mostly brass, "The Red Spot" involves string instruments, "The Pale Lady" has woodwinds, and "The Jangly Man" is heavy on percussion.
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The opening track, "Falaise" which features a string ensemble, a French horn and several woodwinds, was written with the goal of taking a "normal ensemble" and treating the parts as building blocks of a modular system.
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In "Wicked," for instance, Mr. Brohn selected woodwinds and harps to convey "the swirling girly fantasy" of the good witch Glinda's entrance inside a bubble, he told a website dedicated to the musical's composer, Stephen Schwartz.
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With credits between the two including Lost, Up, Star Trek, Jurassic World, and more, the duo conceived Pokémon: Symphonic Evolutions in 2014, a project that sees the series' iconic soundtracks performed on piano, synths, woodwinds, and other instruments.
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In the title song of "Absolute Zero," he imagines being cryogenically preserved for a century, awaiting "Another chance, maybe better next time"; sparse piano and sustained woodwinds suspend his voice as the drummer Jack DeJohnette pinpoints time still passing.
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IFC Center is screening it on a 20077-millimeter print, all the better to showcase Robert Richardson's extraordinary use of color and Elmer Bernstein's wonderful score, with mournful horns and woodwinds that subtly evoke the blare of ambulance sirens.
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The credit for that largely goes to composer Michael Giacchino's better-than-it-needs-to-be score—a freaky symphony of staccato woodwinds, plucky strings, and ominous thumping kettle drums—and Andy Serkis, who brings Caesar to life once again.
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Eleanor Martinez, a 20183-year-old student at South Philadelphia High School, now owns her own clarinet but for a long time needed to share — which grossed her out, she said, given the amount of saliva involved with playing woodwinds.
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The work, about 24 minutes long, displays many hallmarks of his style: compositional techniques encompassing both the tonal and the atonal; a sonic intensity heightened, in particular, by the exuberant use of woodwinds and brass; and an abiding concern with instrumental texture.
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The signs of urban blackness punctuate the score like fluttering woodwinds: Nike swoosh symbols are featured on the feet of a naked body; dollar signs and gold glitter seem to form a tiara on the head of someone with a big, onion booty.
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A fantastic flourish in the woodwinds alerts the little heroine, Clara, to the presence of the supernatural or magical (see also Peter Wright's 1984 production for the Royal Ballet) — though here it's her poodle, Minnie (played by a dancer), who acts strange.
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By restricting the most virtuosic material in the 20-minute "Music for Ensemble and Orchestra" to a select group of strings, woodwinds, pianos and vibraphones, he noted that he was hewing rather closely to the intimate forces employed by his usual groups.
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It's the tropical house album of dreams, subsuming soft electronic woodwinds, squealing chipmunkesque hooks, and resonant pitched percussion into a lithe, moist groove so physically pleasurable you're happy to ignore irritants like banal lyrics (although "girl you cool/girl you nice" is pretty funny) and inspirational positivity.
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Sam Spence, a prolific composer for NFL Films who marshaled sawing strings, rattling drums, pounding timpani, resonant horns, twittering woodwinds and blaring trumpets to create a signature soundtrack for the quasi martial enterprise known as pro football, died on Saturday, the day before the Super Bowl, in Lewisville, Tex.
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It's an approach that relies on a rare ear for transparency married to superior orchestral playing — a resource available in abundance from the Boston players, from the tempting, timeless glow of the horns, to the individuality of the principal woodwinds, to the depth and glamour of the strings.
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While Revolver's studio innovations were scattershot, Pepper strings together an opulent suite of nominal rock songs augmented by a variety of Western classical instruments, especially harpsichord, strings, and woodwinds, plus Indian classical instruments and spliced-together tape shards and looped sound effects, forming a bright, consistent shape in the mind's ear.
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But under the guidance of Roscoe Mitchell and Famoudou Don Moye, the new overflow lineup becomes something else: a habitat where woodwinds and strings can converse with the radical poetry of Moor Mother, and where, moments later, a corps of percussionists can open up into a 10-minute, pseudo-Caribbean vamp.
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"This very day — July 21950, 1817 — was the day when the very first shovel full of dirt was dug just outside of Rome, N.Y.," David Alan Miller, the Albany Symphony's music director, told the crowd that assembled here to listen to the sounds of strings, woodwinds, brass and drums along the Mohawk.
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Gestures of gentleness and warmth keep breaking into works like the First Cantata, with texts by the poet Hildegard Jone, who shared with Webern, an alpine enthusiast, an intense love for nature at its most pure; carefully chosen timbres of strings and percussion with solo brass and woodwinds caress as often as they collide.
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Now, saxes are one of the most-memed instruments on the planet, so their resurgence in this decade is as fueled by that humor element as much is it is by the perpetual appeal of 80s cheese and Kenny G. Plus, as the flute jams of 2017 showed, there's an appetite for woodwinds playing memorable melodies.
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The new seating arrangement — which he settled on after listening with the rest of the music staff to the orchestra play "Swan Lake" in both configurations — splits the violins, so that the first violins sit on the conductor's left and the second violins on his right, and moves the woodwinds to the middle of the pit.
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The operatic empress arrives on the scene in a boat, seeking to save the emperor by confronting her father, the god Keikobad: "I am his child, I am not afraid," she sings on an ascending phrase, reaching a perfectly clear and courageous high A. She is accompanied by solemn woodwinds and calls forth a response from offstage trumpets.
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The cyan text over a black, silent background: "A long time ago in a galaxy far, far away…" And then, like a wave, the giant, yellow-outlined words "Star Wars" crash onto the screen, quickly shrinking back into the starry background as a flurry of brass, woodwinds, and string instruments fill the emptiness of outer space with wonder.
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The woodwinds play their final line, and the brass finally cooperate... until they refuse to play their final note, which is completed by the woodwinds.
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Sections A, C, E, and G function as a refrain. Four percussion instruments signal the beginning of these sections, which are composed of lively un-metered lines played by woodwinds. Each subsequent refrain adds instrumentation. Thus, Section C utilizes woodwinds and 3 timpani; Section E utilizes woodwinds, 3 timpani, and 3 brass instruments; and Section G utilizes woodwinds, 3 timpani, 3 brass instruments, and piano.
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In 2010, Becker's Hospital Review named Woodwinds as one of the Top 100 Best Places to Work in Healthcare in the country. HealthGrades rates Woodwinds’ orthopaedic program as the best in the state and named Woodwinds an Outstanding Patient Experience award winner in 2010-2011 based on patient satisfaction data as measured by NRC Picker Soliant Health named Woodwinds one of the Top 20 Most Beautiful Hospitals in the country. In 2009, Woodwinds was named a Thomson Reuters 100 Top Hospital. Blue Cross Blue Shield Association awarded Woodwinds a Blue Distinction for its expertise in hip and knee replacement as well as spine care.
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It is widely considered to be Kayo Dot's least heavy album to date. The ensuing tour featured a mostly new group of musicians: Patrick Wolff on woodwinds, Daniel Means on woodwinds and guitar, David Bodie on drums, and Terran Olson on woodwinds and keyboards. Much of the lineup would stay the same for the recording of their next album, Coyote.
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1955–1957 Richmond Professional Institute of the College of William and Mary, Richmond, VA. Instructor. Band Director; woodwinds; theory; conducting; music appreciation. 1958–1960 Madison College, Harrisonburg, VA. Assistant Professor. Wind Ensembles; woodwinds; theory; conducting; music appreciation.
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The bass recitative, "" (Thus throughout the whole round earth), is accompanied by woodwinds.
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The woodwinds motive marks a transition to the third theme concluding the piece.
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Teaching Woodwinds. New Jersey: Pearson Education, 2005. p. 52Johnson, Keith. Brass and Performance Pedagogy.
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The Paladin Regiment is composed of woodwinds, brass, percussion, color guard, twirlers, and a dance troupe.
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Circuit Parade is an experimental electronic chamber pop band which features analog synthesizers, cello and woodwinds. Members included McGinty (electric piano, synthesizers), Mike McGinnis (woodwinds), Leon Dewan (Dewanatron) and Julia Kent (cello). For live shows, Eleanor Norton plays cello. Circuit Parade released one CD, "Negativland" in 2008.
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The organization follows a standard American wind band, including brass, woodwinds, and percussion, plus one string bass.
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When only woodwinds are involved, the term "reed section" is often used, even when flutes are included .
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The Allmusic review by Rovi Staff states: "Featured is Kessel's guitar with five woodwinds and a rhythm section".
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Amati-Denak manufactures wind musical instruments, clarinets, trumpets, flutes, bassoons, saxophones, tubas, woodwinds, cases, stands, and other accessories.
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Organ pipes, the bodies of woodwinds, and the sound boxes of stringed instruments are examples of acoustic cavity resonators.
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Also, woodwind musicians use valve oil (called key oil for woodwinds since they do not have valves, they have keys) to lubricate the mechanism of the keys to improve the springback action. However, woodwinds usually oil their keys only every few months, whereas some brass players lubricate their valves several times a week.
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U of Pennsylvania He had three sons, Herman Wright Jr. (brass and woodwinds), Paris Wright (drums), and Dewayne Wright (piano).
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Bennett has played a Selmer Mark VI tenor saxophone exclusively since 2007 along with D'Addario Woodwinds Royal reeds since 2004.
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Woodwinds Health Campus opened in August 2000 and is the first and only hospital in Woodbury, Minnesota. Woodwinds Health Campus includes The Natural Care Center by Northwestern Health Sciences University and offers non-traditional treatments such as chiropractic and acupuncture. It also has a community resource center open to community members, patients, visitors and staff.
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In a Summer Garden is a fantasy for orchestra composed in 1908 by Frederick Delius; it was first performed in London under the composer's baton on 11 December of that year. The piece is built around several distinct themes. The first appears in the woodwinds and strings; the second is presented by the English horn, while the third is scored for violas against figures and chords in the woodwinds and lower strings. This is worked out vigorously before the piece is concluded by a new theme, first from the violins and repeated by the woodwinds.
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After the album's release, Driver relocated from Boston to New York City for the purpose of touring the album. A new lineup was assembled, including Patrick Wolff on woodwinds, Daniel Means on woodwinds and guitar, David Bodie on drums and original (and former Maudlin of the Well) member Terran Olson on woodwinds and keyboards. Despite a successful tour, the album was not received as well as previous releases. Allmusic and Drowned in Sound gave it mostly positive reviews, but it was panned by Pitchfork, who gave it a score of 3.3 out of 10.
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Shearing Bossa Nova is a 1963 album by George Shearing accompanied by "woodwinds and a Brazilian rhythm", and arranged by Clare Fischer.
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Also in 2009, Minnesota Hospital Association named Woodwinds the 2009 Best Minnesota Hospital Workplace for its holistic model of care and healing environment.
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He Xuntian: Pipa Pattern Pipa Pattern ( 琵琶图 ) is a work for string orchestra and woodwinds, composed by He Xuntian in 2001.
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Surges composed works in various genres: choral (male chorus, female chorus, mixed chorus), orchestral, chamber (strings, woodwinds, brass, piano, organ), instrumental and vocal.
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The size and composition of a marching band can vary greatly. Some bands have fewer than twenty members, and some have over 500. American marching bands vary considerably in their instrumentation. Some bands omit some or all woodwinds, but it is not uncommon to see piccolos, flutes, soprano clarinets, alto saxophones, and tenor saxophones (woodwinds are not used in drum corps).
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The piece is a sextet intended in the baroque style, the two unfriendly groups of instruments being the three woodwinds — flute, oboe and bassoon — and the three brass; trumpet, french horn and trombone. The basic premise is that the woodwinds play the piece straightforwardly, while the brass instruments (who don't like the woodwinds and/or the conductor) do everything possible to pervert the work, including playing their echo atonally/arhythmically, playing in a carnival or ragtime style, ignoring their cue (even when repeated) and then playing "nanny nanny boo-boo" over the subsequent woodwind line, and dramatic ritardandos and rallentandos that cover the other group's parts. This understandably frustrates the woodwinds and the conductor. At the breaking point, the conductor and/or woodwind group pull out guns and point them at the brass section, whose broad, obnoxiously loud line trails off.
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Elliott returned the favor, playing guitar on Parks' 1968 debut album, Song Cycle. Triangle also features strings, brass, accordion, woodwinds, and numerous types of percussion.
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Numerous transcriptions in various instrumentations have been made of the piece. An arrangement for woodwinds has even been used for advertising Purina One dog food.
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Moments later, a solo oboe plays a high variation on the tune. Other instruments continue with tunes of their own for several moments. Then, in the middle of the movement, woodwinds interject with a brash, shrill theme, followed by brass, then strings, then woodwinds. This eventually leads to a quick, majestic passage that is another ostinato, but different from the invasion theme in the first movement.
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This march is popular to many, especially towards euphonium and baritone horn players for its cut time 8th note (16th note) counter melody towards the end of the march. Many ensembles feature a euphonium player or the entire euphonium section at the end of this march; some just have the woodwinds and euphonium players play through it once. Some even repeat break strain and the final strain for euphonium to play the part the first time and both woodwinds and euphonium to play the part together the second time. A few ensembles have the euphonium play the first half and the woodwinds and euphoniums play the second half.
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Faculty ensembles include the Esterhazy Quartet, the Missouri Quintet (woodwinds), Mizzou Brass, and DRAX. The Mizzou New Music Ensemble specializes in the performance of original compositions.
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They are joined by the woodwinds later when an oboe's long, high A signals the start of the A major Trio section. Later, the brass instruments come in, playing very quietly and staccato. The three groups (strings, woodwinds, and brass) are the only groups that play; there is no percussion in this movement except for the timpani, as in the previous movement. It ends quietly with pizzicato strings.
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Marc-Antoine Charpentier : Judicium Salomonis H 422, Oratorio for soloists, chorus, woodwinds, strings, and bc. (1702) Giacomo Carissimi : Judicium Salomonis, Oratorio for 3 chorus, 2 violins and organ.
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Orchestral piece written for microtonal string orchestra by commission from Israeli conductor Ilan Volkov, woodwinds and percussion. Premiered by the Iceland Symphony Orchestra at the Tectonics Festival in 2015.
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Its Maternity Care Unit has had the highest patient satisfaction in the nation according to Press Ganey. Woodwinds nurses have achieved the highest employee engagement scores ever recorded by Gallup.
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Most film noir movies feature scores that are orchestral (strings). In contrast, The Big Combo is one of few that has a brass (trumpets, etc.) and woodwinds (saxophones, etc.) score.
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At the end, a timpani drum roll segues into the final movement. This movement is the heaviest, dancing in a triple metre. The woodwinds and the piano enter with counterpoint.
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The saxophone, for example, though made of brass, is considered a woodwind because it requires a reed to produce sound. Occasionally, woodwinds are made out of earthen materials, especially ocarinas.
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Thomas was again responsible for the album's particular sound, according to biographer Christian Matijas-Mecca, with one of his signatures being the way woodwinds complement the end of a vocal line.
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Orchestras such as Orchestra San Vicente, Los Hermanos Flores and Grupo Bravo perform cumbia with basic instrumentation, replacing accordion with brass instruments and woodwinds, and using traditional percussion and bass guitar.
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Sounds on the album include treble horns, woodwinds, flutes, human screams and groans,St. Michel, Patrick (November 18, 2016). "Foodman, Vocaloids, and the Japanese Focus of Orange Milk Records". Bandcamp Daily.
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Movement 1, “Joyeux,” is a frolicsome piece in ternary form that juxtaposes duple and triple meters between strings and woodwinds. Played separately, the soaring melodies of the flute and the English horn are typical of the romantic period but are contrasted with the aggressive double bass line. However, as is typical of Milhaud’s polyphony, the voices sound fairly cacophonic when played simultaneously. The movement frantically climaxes and suddenly ends, following a quick run in the woodwinds.
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An original soundtrack album with a running time of 69:46 Minutes, featuring James Horner's film score, was released by Varèse Sarabande. Horner uses strings, woodwinds, piano, harp, percussion and electronic elememnts.
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The Vito line of woodwinds was discontinued in 2004, although the equivalent models of saxophones continued to be made by Yamaha and KHS (Jupiter). The Vito line of brasswinds was discontinued in 2007.
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Michael and Peter are musicians – saxophone-woodwinds and drums, respectively. Turre was raised in Lafayette, California (San Francisco Bay area). He began playing trombone at age ten, during his fourth grade in school.
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Consistent with Tchaikovsky's practice in his first two concertos, Taneyev reduces the orchestra to woodwinds, horns and strings for the Andante. He scored the Finale for full orchestra, again as per Tchaikovsky's practice.
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In 2004 it acquired the wind instrument manufacturer Leblanc and placed it under Conn-Selmer. It now owns manufacturers of pianos, brasswinds, woodwinds, strings, and percussion. Brands produced under it include Steinway & Sons pianos, Bach Stradivarius trumpets, C.G. Conn French horns, Leblanc clarinets, King trombones, Ludwig snare drums, and Selmer saxophones and woodwinds. The company sells its products through a worldwide network of dealers to professional, amateur and student musicians, as well as orchestras and educational institutions, under dozens of different brand names.
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Barham was born in Dowagiac, Michigan.August 27, 2000 He received a bachelor of music degree in woodwinds from the University of North Texas in 1982 and a master of music in woodwinds (saxophone) from the University of Michigan (where he studied with Donald Sinta) in 1983. He has previously served on the faculties of the California State University, Northridge, Andrews University, and Lake Michigan College. He has performed throughout the United States and Europe, and has concertized in Japan, as well.
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Kaplan has arranged or composed pieces for woodwinds, including a series of 50 solos for school use written in 1985. Some of his music has been published by Jack Spratt, New York, and Belwin.
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Stokowski's opening "Promenade" is less showy than Ravel's brass fanfare; it is instead mainly given to low strings and woodwinds, creating deep, chorale-like textures. The brass do not enter until near the end.
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The score was recorded by the London ensemble Orchestrate, and its pared-down ensemble included a small string section and woodwinds, as well as bagpipe and snare drum for the officialism of the proceedings.
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The original anonymous libretto is extant. Bach first performed the cantata on 13 February 1724. He performed it at least one more time between 1743 and 1746, only then he added parts for two woodwinds.
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Haynes was apprenticed to Friedrich von Huene in Boston, Massachusetts, learning to make copies of original Baroque woodwinds. In 1969 he opened his own workshop in California. Subsequently, Haynes devoted himself to performing and research.
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Daniel Bennett recently played woodwinds in 'Blank! The Musical,' the first fully improvised Off-Broadway musical to launch on a national stage. The show was produced by Second City, Upright Citizens Brigade, and Improv Boston.
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October begins with the solo oboe playing an introductory melody (I) in D♭ major, consisting of eighth and quarter notes embellished by grace notes. The next melody, played by all the upper woodwinds, the tenor saxophone and the horns (II), uses a variety of intervals – fourths, fifths, sevenths and an octave – making it somewhat angular. The melody of theme two, played by the upper woodwinds, also uses eighth and quarter notes (III). The motion of this melody is more stepwise than the previous one.
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Movement 2, “Calme,” lives up to its name in style. An English horn solo opens the piece, playing over a smooth bassoon part and muted strings which bring to mind a babbling brook. The flute enters to rhythmically support (and harmonically oppose) the other woodwinds, all while the strings’ rhythms are augmented, turning simple arpeggio patterns into textural body. This thins out after the strings’ trill, with ornamental figures in the woodwinds that decrease in length and volume to the tranquil end of the movement.
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When he recapitulates this theme, he adds further rhythmic movement in the form of chromatic lines in the woodwinds. The second theme follows a more regular rhythm, which is enhanced by exchanges between violins and woodwinds. The music goes from rhythmic complexity to stasis, "in which a single chord is maintained for twenty-two measures in a regular rhythmic pattern." This respite, however, is also preparation for "a rhythmically confused episode" where various instrumental groups "converse by complex hemiola structures," where multiple rhythms play against one another.
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London, John Lehmann. John Paynter (1970, p. 24) vividly conveys how silence contributes to the titanic impact of the third section of Messiaen’s orchestral work Et exspecto resurrectionem mortuorum (1964): > Woodwinds jump, growl and shriek. Silence.
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The standard jazz-ensemble is further augmented, on all 6 tracks, by woodwinds (see below). Carter uses a piccolo bass tuned a fourth higher than a normal double bass (low to high: A-D-G-C).
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The opera is scored for a large variety of instruments, including three woodwinds, four horns, three trumpets, three trombones, tuba, timpani, percussion, harp, synthesizer and strings.Music Finland/Composers and Repertoire: Sallinen - Kullervo. accessed 1 February 2015.
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The fourth movement, Laudato sia, mio Signore, per sor' acqua, has the praises by Sister Water. It is a quartet for the soloists, marked "Amabile, tranquillo". The water is depicted by a continuous flow in the woodwinds.
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The saxophone's altissimo register is more difficult to control than that of other woodwinds and is usually only expected from advanced players. The alto saxophone is a transposing instrument; pitches sound a major sixth lower than written.
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Although the primary tone hole pitches are a pitched perfect 5th lower than other non-transposing Western woodwinds (effectively an octave beneath English horn) the bassoon is non-transposing, meaning that notes sounded match the written pitch.
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At this point a third theme is heard in the woodwinds – like the first theme also built on the perfect fourth but this time with the defining rhythm "short-long-short" – with tremolo accompaniment in the strings. At measure 28, the fourth theme enters still in G major and distinguished by its duple (equal) subdivision of the beat in the horns and woodwinds as a chorale-like chord progression. This exposition concludes with the return of the third theme, now rhythmically in diminution and melodically circular, fading away to an afterthought.
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Mr. Eustache was a featured performer [South-American woodwinds, Afro-Venezuelan percussion] on Gustavo Dudamel's "Libertador" orchestral suite, with the Los Angeles Philharmonic at the Hollywood Bowl in the "Noche de Cine" concert special, July 30, 2014. L.A.Times review of this concert He has been the woodwinds featured soloist with Yanni's orchestra since 1995, most recently during the 2003-2004 Ethnicity and 2005 Yanni Live! tours, and appears on several of his live music videos including Yanni Live at Royal Albert Hall, Tribute, and Yanni Live! The Concert Event.
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The second melody follows in the woodwinds with violins and bass accompaniment, this in turn followed by a theme reminiscent of the "Dresden Amen" in a long tremolo, the trumpets giving out their original theme, to full accompaniment. After recapitulation the main theme appears in the horns, the violins in agitated accompaniment. The close of the section is vehement, gradually dying away and leading to the second movement without halt. A slow, tender melody appears in the woodwinds and horns and later in the strings, the trumpets repeating their call in the first movement.
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In Feb 2009 Eustache premiered his composition "Suite Concertante for World Woodwinds & Symphony Orchestra". Eustache performed on 21 solo woodwind instruments, under the baton of his fellow-countryman Gustavo Dudamel, with his "Orquesta Sinfónica Simón Bolívar", Caracas, Venezuela.
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Most of his works are for woodwinds, especially for saxophone. His Quartet for Saxophones in F premiered in 1962. Another of his works is the 'Pieces characteristiques en forme de suite', written for Alto Saxophone with piano accompaniment.
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Music was thought to reflect the orderliness of the cosmos, and was associated particularly with mathematics and knowledge.Habinek (2005), p. 90ff. Various woodwinds and "brass" instruments were played, as were stringed instruments such as the cithara, and percussion.
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The opening chorus, "" (Sound, you drums! Ring forth, trumpets!), is a complex long da capo form (ABA). Unusually for Bach, it opens with a timpani solo. It is followed by the trumpets, and then by the strings and woodwinds.
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It was written for viola and string orchestra (Der Schwanendreher employs a larger complement that includes woodwinds). Trauermusik was performed that evening in a live broadcast from a BBC radio studio, with Boult conducting and the composer as soloist.
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All of the brass play the harmony during the fourth theme, now in G Major. In the coda, all the woodwinds play trills above the melodic brass. The piece concludes with the brass quietly playing a final G major chord.
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He was assisted by Hans Christian Reumschüssel (cello), Emily Bezar (vocals), and Paul McCandless (woodwinds). The soundtrack was bundled with a CD-ROM that included demos for five LucasArts games, and was intended as a first step in cross- promotional efforts.
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On the first of these two albums keyboardist Larry Nash was replaced by Victor Feldman, and David Luell played saxophone and woodwinds. Robben Ford left the group prior to the recording of Shadow Play and was replaced by guitarist Peter Maunu.
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"Concerto for Flute, Strings and Percussion ", ArtoftheStates.org. Containing strings, percussion, keyboards, celeste, and harp"The Pulitzer for Music", PBS.org, April 19, 1999. while omitting brass and woodwinds, the ensemble is similar to that of Bartók's Music for Strings, Percussion and Celesta.
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This is a one-year program of intensive full-time study, open to woodwinds, brass, percussion, strings, piano, voice and accordion. Students enrolling in this program have the option of specializing in Baroque music, utilizing period instruments in conjunction with Tafelmusik.
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The five pieces refer to the musical history of Leipzig and Boston. All movements begin with woodwinds. The whole concept of Partita is to link the music of Bach and Mendelssohn. The first reminiscence is influenced by Bach, Bruckner, and Wagner.
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Royer microphones have been used on many instruments. Sound engineers have had good results when recording classical guitars, drum kits, pianos, woodwinds, and electric guitars. Users of Royer microphones include Carlos Santana, Herb Alpert, Steve Albini, Ross Hogarth, and Ed Cherney.
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Woodwinds Health Campus is a hospital in Woodbury, Minnesota. It is currently part of M Health Fairview and a former member of the HealthEast Care System. It was recognized as innovative for successfully blending integrative health services with traditional medicine. Woodwinds is a full-service 86-bed hospital, located on 30-acres of wetlands. It was one of three hospitals nationally recognized by the U.S. Department of Health & Human Services’ Agency for Healthcare Research and Quality (AHRQ), for its evidence-based healing environment and hospital design. It is a collaboration between M Health Fairview and Children’s Minnesota.
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During the school day, band members are separated into 4 concert bands of varying skill which include Concert Band, Symphonic Band 2, Symphonic Band 1, and Wind Ensemble (No Freshman in Wind Ensemble) Concert Band is split between woodwinds/percussion and saxophones/brass.
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His instrument is the clarinet, but in the game funkbox he also plays a trumpet. He also plays many horns and woodwinds such as the trombone seen in The Devil and Lil'D. He is 12 years old. He speaks in a Cajun accent.
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On woodwinds, most notes vent at the uppermost open tone holes; only the lowest notes of each register vent fully or partly at the bell, and the bell's function in this case is to improve the consistency in tone between these notes and the others.
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Some ensemble directors, if the euphonium section is not ready to take on the part, will either have the woodwinds play the counter melody and have the euphoniums play the first trombone part or simply eliminate the euphonium's part at the end of the piece.
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Programs include: MMus in Composition, in Music Technology and Digital Media, in Instrumental (solo piano, woodwinds, brass, percussion, strings), in Collaborative Piano, in Conducting, in Jazz Performance, in Opera, in Piano Pedagogy, in Voice and in Vocal Pedagogy; and DMA in Performance and in Composition.
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It opens with the horn playing the main theme quietly. A gradual crescendo leads into a dramatic woodwinds and strings section. The solo cello enters by playing the modified main theme loudly which is marked risoluto. The orchestra plays the new modified theme again.
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In measure 41, Sibelius goes back to E major while still in the middle of the A-group and concludes this exposition section in this tonic key as no sonata form exposition would. Finally, the second theme in the woodwinds is developed with the sixteenth-note runs sooner and much longer than before. This section ends just as the previous one does with the third theme in diminution fading away to nothing without cadence in the strings and woodwinds. What follows is a developmental section (what Hepokoski calls Rotation 3) based on the insignificant transition that anticipated the string entrance before the B-group in the first exposition.
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In compositions for piano, string instruments and woodwinds, the composer singles out the woodwinds. In this context, Hrachya Melikyan's place among the Armenian composers is exceptional not only by the quantity of compositions for woodwind instruments, but also by the variety of timbral characters. And the fact that the clarinet was the first musical instrument he played, which opened the music world to him, played a significant role. The composer's interest was not limited by genres of chamber music – concerto, quintet, quartet, trio, sonata, sonatina, pieces, etc. The opera “Alien Blood or End of Absurdity” (1989-1991) was composed by the commission of the opera house in Łódź, Poland.
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The symphony is in four movements: The symphony opens with horns and woodwinds, and trumpets join with a higher A. As the music solidifies into large, slow syncopated chords, Tchaikovsky unleashes the musical equivalent of lightning bolts: two short fortissimo chords, each followed by a long measure of silence. As the music ebbs away, the woodwinds hint at the main melody, which is properly introduced by the strings at the Moderato con anima. (The score at this point is marked "In movimento di Valse", as it is written in .) The melody develops quite rapidly. Much later in the movement, the same A is played by the trumpets.
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This theme consists of three sections: the most important is the first one (ascending; bars 79—90), while the second (descending; 103—110) is just an answer for it and a transition to the third, that is build around the tonic (111—118). Their statement is followed by a characteristic 'windy' motive in the woodwinds, which is used much in later portions of the work, mostly to accompany other melodies, but sometimes independently. The music reaches its summit, and now comes the motto theme again, triumphant, with elegant harp arpeggios supporting its breathings. The woodwinds motive emerges to the foreground, and at last the key changes to Franck's favourite F minor.
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It has been one of the most frequently performed orchestral works by a living American composer. His subsequent body of work included over 90 works for orchestra, chamber orchestra, piano, strings, voice, organ, clarinet, guitar, brass, woodwinds, and chorus.An Online Reference Guide to African American History (2011).
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This leads into a loud development section evoking the first movement. However, the passage ends quickly, with the woodwinds bringing back the original theme, again echoed by the strings, just as in the beginning. The final third of the movement continues in this vein.Steinberg, 557–558.
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Marigaux Oboe Marigaux, also known as SML (Strasser-Marigaux-Lemaire) is a French manufacturer of high quality woodwind musical instruments. Marigaux is considered one of the world's best oboe-makers. The company has made a line of woodwinds that has also included clarinets, saxophones, flutes and bassoons.
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Another such point occurs near the beginning of the deeply brooding coda that follows the last full-orchestra outburst, with the descending half-step idea in the woodwinds clearly pointing to the A major-to-A minor chord progression that characterizes much of Mahler's Sixth Symphony.
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The tension builds and the music ascends until it reaches a climax, when the opening theme returns with baleful trombones and crashing chords at the top of the piano. The woodwinds bring the intensity back down and the movement ends quietly with a final stroke of wit.
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John Leon Guarnera, professionally known as "Bunk" Gardner (born May 2, 1933 in Cleveland, Ohio, United States) is an American musician who most notably played for the original version of Frank Zappa's Mothers of Invention until the group disbanded in 1969. He plays woodwinds and tenor sax.
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The songs on this record attempt to do just that." Joel McNeely said about the music of the album, "The instrumentation on this record is unusual. It is a very small string section, only a few brass and woodwinds. But we chose the musicians very carefully.
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The reed is placed directly on the lips and then played like the double-lip embouchure described above. Compared to the single reed woodwinds, the reed is very small and subtle changes in the embouchure can have a dramatic effect on tuning, tone and pitch control.
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José Carreras's Italian Singer was "too noisy". The many minor roles were all performed competently by a legion of Netherlanders. De Waart's Dutch orchestra, likewise, was unequivocally good. Its woodwinds were "crisp and savory", its brass "unusually firm and together and plump", its strings "active" and "stylish".
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Dvořák’s melodies are beautiful and often presented in the woodwinds and horns, as well as the strings. Dvořák frequently converses back and forth between groups of instruments, sometimes finishing one another’s phrases. The brass are used more as support in tutti passages, only occasionally leading the melody.
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Throughout the concerto, the pianists play nearly continuously, sometimes unaccompanied by the orchestra. Poulenc creates a dramatic yet charming dialogue between the two keyboards and the supporting orchestra ensemble. Unusually, his orchestration foregrounds the woodwinds, brass and percussion, relegating the strings to an unfamiliar secondary role.
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An example is a coda during the scene in which Birju runs away from his mother and rejects her. It features a powerful symphonic orchestra with strings, woodwinds and trumpets. This orchestral music contains extensive chromaticism, diminished sevenths, and augmented scales. It also features violin tremolos.
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Casual classical concerts are offered on Tuesday and Friday afternoons at 2 pm in the Film Theater. Programs vary daily and weekly. Music for guitars, saxophones, vocalists, woodwinds, strings, brass, or percussion may be featured with repertoire ranging from jazz to classical by American and international composers.
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Marching band (Act I, scene iii): ;Woodwinds: : 1 piccolo : 2 flutes : 2 oboes : 2 clarinets in E : 2 bassoons ;Brass: : 2 horns in F : 2 trumpets in F : 3 trombones : 1 tuba ;Percussion: : bass drum with cymbals : snare drum : triangle Berg notes that marching band members may be taken from the pit orchestra, indicating exactly where the players can leave with a footnote near the end of Act I, scene ii. Tavern band (Act II, scene iv): ;Woodwinds: : 1 clarinet in C ;Brass: : 1 bombardon in F (or tuba, if it can be muted) ;Keyboard: : accordion ;Strings: : guitar : 2 fiddles (violins with steel strings) In addition, for the Tavern scene in Act III, scene iii, Berg calls for an out-of-tune upright piano. Chamber orchestra (Act II, scene iii): ;Woodwinds: : 1 flute (doubling piccolo) : 1 oboe, : 1 English horn : 1 clarinet in E : 1 clarinet in A : 1 bass clarinet in B : 1 bassoon : 1 contrabassoon ;Brass: : 2 horns ;Strings: : 2 violins : 1 viola : 1 violoncello : 1 double bass The instrumentation matches that of Schoenberg's Chamber Symphony No. 1.
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The piece concludes with a coda from measure 98 to the end (m. 113). A six-measure melodic hocket is played by the horn, trombone, euphonium and trumpets, ending with a climax in G major. October concludes with the low brass and woodwinds playing a long diminuendo into silence.
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The second theme is repeated, this time in the home key of E Major. There is almost a small cadenza near the end of the movement when the woodwinds play the main tune against prolonged trills from the solo violin. The concerto then concludes with a frenetic coda.
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Its dynamic scheme is highly suggestive of a procession passing by, starting out pianissimo, poco a poco rising to a fortissimo climax and then receding back to pianissimo by the coda. Unlike much of Beethoven's other orchestral music, the woodwinds are the dominant voice rather than the strings.
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Though the notation is not explained in the score, in another work from 1986, Jalons, Xenakis explains that the two notes should be produced with the lips and not with singing. Throughout Jalons, Xenakis uses split tones extensively in the woodwinds and trombone.Collings, Bruce. musikFabrikblog. Accessed: November 7, 2011.
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Bedouin music is the music of nomadic Bedouin tribes of the Arabian Peninsula, Sudan and the Levant. It is closely linked to its text. Songs are based on poetry and are sung either unaccompanied, or to the stringed instrument, the rebab. Traditional instruments are the rebab and various woodwinds.
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But terracotta and bone whistles remained in use throughout antiquity.E.g. the bone flutes from Vesterbølle (Denmark) and from Veyreau (France). In addition woodwinds made of tubes and pipes, similar to the Greek syrinx (pan flute), were in use.The Romans also used the term fistulae for the Greek syrinx.
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Woodwind instruments (Sumerogram: GI.GÍD "long tube") are also mentioned in Hittite texts. Since there are no Bronze Age depictions of woodwinds, it is not clear whether this instrument was a reed instrument or a flute. Monika Schuol considers a 'double oboe' most likely for musicological reasons.Schuol: Hethitische Kultmusik, pp.
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The synthesized orchestral score of the episode was written by Christopher Lennertz. He feels that "people associate the sound of violins with vampires" due to the "connection with Eastern Europe and counts", and thus used a "very violin-heavy" score for the episode, avoiding woodwinds, brass, and piano.
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The King's Academy offers instrumental classes for elementary students starting with beginning band in 5th grade and intermediate band in 6th grade. Secondary students may choose to continue their studies in the school's concert and symphonic bands. The King's Academy also offers classes in woodwinds, percussion and strings.
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The work is scored for a chamber orchestra of piccolo, E clarinet, two trumpets, trombone, tuba, tamtam, xylophone, piano, two violins, and double bass. The absence of low woodwinds, violas, and cellos produces a sound meant to evoke a Mexican village band, or the sound of Indian music .
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At the beginning of the 18th century, Elector Lothar Franz von Schönborn initiated the formation of a secular orchestra. This included the extension of the strings by woodwinds and horns. Elector von Schönborn was also setting records in the form of a decree to introduce a court musician.
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The Kanata Symphony Orchestra is a mid-size orchestra, and consists of all instruments typically found in a symphony orchestra: strings, percussion, woodwinds, and brass. The orchestra rehearses weekly from September until May. Since 1981, the Kanata Symphony has aimed at bringing music to the public at affordable prices.
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Jarno Sarkula (4 August 1973 – 12 July 2020) was a Finnish musician and one- time TV-personality. Sarkula was born in Vantaa. As a musician, he first became known with the band Höyry-kone ("Steam-Engine"). Sarkula wrote music for the band and played the bass and woodwinds.
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Rustle noise is noise consisting of aperiodic pulses characterized by the average time between those pulses (such as the mean time interval between clicks of a Geiger counter), known as rustle time (Schouten ?). Rustle time is determined by the fineness of sand, seeds, or shot in rattles, contributes heavily to the sound of sizzle cymbals, drum snares, drum rolls, and string drums, and makes subtle differences in string instrument sounds. Rustle time in strings is affected by different weights and widths of bows and by types of hair and rosin in strings. The concept is also applicable to flutter-tonguing, brass and woodwind growls, resonated vocal fry in woodwinds, and eructation sounds in some woodwinds.
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Voyage 2 for tuba and tape(1978) Studio 105, Radio France, Soloist: Gérard Buquet. Voyage 3 for clarinet, horn, bassoon and tape(1979). "White nights" music theatre for harp, small ensemble(3 horns, 1 tuba, 6 percussions) and tape (1979). "5 seasons" for 7 woodwinds, 3 percussions and tape (1981–1982).
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In 2016, Jay and Anne Hills released Fragile Gifts, a collection of songs, mostly written by Anne and Jay was released. It features more "classical" arrangements for strings, brass and woodwinds in various combinations. In 2017, Mabou Mines premier's Lee Breuer's Glass Guignol in NY, for which Jay is the composer.
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Edgard Varèse Déserts (1950–1954) is a piece by Edgard Varèse for 14 winds (brass and woodwinds), 5 percussion players, 1 piano, and electronic tape."Blue" Gene Tyranny (2010). "[ Déserts for brass, percussion, piano & tape]", AllMusic.com. Percussion instruments are exploited for their resonant potential, rather than used solely as accompaniment.
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The Down Beat review by Bill Meyer says "this suite encompasses contemporary chamber music, ritualistic vocal incantations and harrowingly violent expressions of agitation. Strings clash, and woodwinds carve out eerie melodies against backdrops that shift mercurially from emptiness to elastic grooves to looming orchestral chasms."Meyer, Bill. Intergalactic Beings review.
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The concert band's woodwind section typically includes piccolos, flutes, oboes, B clarinets, bass clarinets, bassoons, alto saxophones, tenor saxophones, and baritone saxophones. The alto flute, cor anglais, E clarinet, alto clarinet, contra-alto clarinet, contrabass clarinet, contrabassoon, and soprano saxophone are also used, but not as frequently as the other woodwinds.
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After several minutes of intense orchestral involvement, the piece suddenly quietens and the second theme is eerily restated on the cello in very high register. The introductory material is then recapitulated by the woodwinds and triangle, with the cello providing a repeating undertone. The first movement closes softly and mysteriously.
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Olav Dale (30 October 1958 – 10 October 2014) was a Norwegian composer, orchestra leader and jazz saxophonist. In addition to saxophone he played other woodwinds. He received little formal education in music, but he completed studies at the Voss Folk High School and the Toneheim Folk High School (1976–78).
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Music I, Music II, Music II, Music IV. No previous instrumental experience is necessary to participate in the music program at Hallahan. We are now offering a String Instrument program for those interested a string instrument such as the Viola, Violin, Cello, and Bass. Additionally Hallahan offers lessons in Woodwinds, and Percussions.
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With this orchestra he traveled throughout Europe and the United States. From 1965 to 1970 he was professor of woodwinds at the Conservatory of Rotterdam. After that, he taught at the Conservatory Concert Directorate in Arnhem and the Rotterdam Conservatory. In 1985 he was decorated as Knight of the Order of Orange-Nassau.
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Billy's Best! is a 1958 studio album by American jazz and blues singer Billy Eckstine. The album was released by Mercury Records, his first for the label. Arranged and conducted by Henry Mancini and Pete Rugolo, the lush, romantic arrangements feature strings and woodwinds, along with big band arrangements with swinging brass.
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Eustache has a collection of around 600 instruments from all over the world, including unique/custom woodwinds, and traditional world flute-based 3D printed Boehm flute headjoints prototypes--designed, modified &/or built by himself--as well as other strings, percussion and electronic (analogue Eurorack-modular vintage wind synth & digital) & DAW/computer-based.
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In addition to Frederick and Jill, the band consisted of Dave Reisch (bass and vocals), Robin Remaily (guitar and mandolin), Teddy Deane (horns and woodwinds), Richard Tyler (piano), and R. "Willy" North (drums). They soon gained the reputation of "the greatest... f---ing bar band in America".Gallagher, Jack. Clinton Street Quarterly, Vol.
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Blackmore's Night is a British/American traditional folk rock band formed in 1997, consisting mainly of Ritchie Blackmore (acoustic guitar, hurdy gurdy, mandola, mandolin, nyckelharpe and electric guitar) and Candice Night (lead vocals, lyricist and woodwinds). Their lineup has seen many changes over the years. To date, they have released ten studio albums.
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The western music in Cantonese opera is accompanied by strings, woodwinds, brass plus electrified instruments. Lyrics are written to fit the play's melodies, although one song can contain multiple melodies, performers being able to add their own elements. Whether a song is well performed depends on the performers' own emotional involvement and ability.
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As well, spoken words such as "water" and "die" are followed by a lower pitch because Lennertz felt it created a "gurgly" water sound. An electric cello and woodwinds helped to create a big emotional tone in the episode "Home", with Lennertz feeling that the final cue "became a very cinematic musical moment".
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Musical artist Jimmie Spheeris persuaded Hubbard to record the album, and also served as its executive producer. The string portions were written by David Campbell. Hubbard wrote all of the music for the album, with contributors utilizing instruments including synthesizers, bass, woodwinds, strings, and a bouzouki. She plays piano on the album.
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20 minutes. The outer movements have been described as showing Hindemith's "abrasive early modernism at its finest". The slow Trio is like chamber music, and longer than the two first movements together. A reviewer noted that it mixes Bach and blues, with the piano contrasting solo woodwinds over an ostinato pizzicato bass.
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Instrumentalists who play orchestral instruments (violin family, woodwinds, brass, etc.) may be asked to perform excerpts from the standard orchestral repertoire. Auditionees are typically told which pieces and movements to prepare; some schools even give the bar numbers or rehearsal letters (e.g., Beethoven Symphony no. 5, movement 1, bar 100 to 120).
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The low-brass section can be playing a long, stately melody, while the woodwinds can be moving along with a phrase of 16th notes, or vice versa. Due to the circumstances in which screamers are played, dynamics tend to stay at a level forte. Unlike some military marches, piano is rarely used.
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Eventually, a climactic build-up starts. This breaks back into the main melody, molto appassionato, voiced by the strings with accompaniment from the woodwinds. The piece finally resolves to a calm arpeggio from the guitar, though it is the strings in the background rather than the guitar’s final note that resolve the piece.
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Four weeks later, the Mass was performed again during a "Concert spirituel" in the Linzer Redoutensaal. Because there was no organ available in the Redoutensaal, Bruckner composed an alternative with woodwinds (clarinets and bassoons) for the short organ intermezzo in the mid-section of the Credo (manuscript Mus.Hs. 3170). Bruckner's manuscript (Mus.
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Chappell of Bond Street (aka Chappell's) is a musical instrument and sheet music retail store located in Wardour Street, Soho, London. The store, founded in 1811 by Samuel Chappell as a store to commercialise Chappell & Co. pianos, nowadays commercialises a wide range of instruments including pianos, guitars, drums, brass, woodwinds, and bowed.
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In the 19th century, new instruments such as piston valve-equipped cornets, saxophones, euphoniums, and Wagner tubas were added to the orchestra. Many of the mechanical innovations developed for instruments in the 19th century, notably on the piano, brass and woodwinds continued to be used in the 20th and early 21st century.
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The work ends with a bright celebration reminiscent of a country fair. Instruments evoke the sounds of the calliope and birdsong, and woodwinds act as the "cheering throngs" at a mule race. The movement ends with a "final thrust of full forces on a suspended high chord" with a "stinger" at the end.
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Woodwinds is one of the leading orthopaedic care centers in the Twin Cities and has created an Orthopaedic Learning Center where doctors from around the world can learn new orthopaedic techniques. It’s also one of the first hospitals in the Twin Cities to offer computer-assisted knee surgery for people undergoing total joint replacement and one of the first hospitals to offer artificial disc surgery for patients with lower back pain. It’s one of the first hospitals in the nation to have acupuncturists on staff who make daily rounds and provide acupuncture to patients to reduce pain, nausea and anxiety, whether they having a baby, undergoing surgery or emergency care. Woodwinds includes a Level 4 trauma center, Certified Stroke Care Center, and Heart & Lung Care.
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Linda Mack called The Unanswered Question "a study in contrasts. Strings intone slow diatonic, triadic chords; a solo trumpet asks the question seven times; the flutes try to answer the question, each time getting more and more agitated and atonal." Leonard Bernstein added in his 1973 Norton Lectures which borrowed its title from the Ives work that the woodwinds are said to represent our human answers growing increasingly impatient and desperate, until they lose their meaning entirely. Meanwhile, right from the very beginning, the strings have been playing their own separate music, infinitely soft and slow and sustained, never changing, never growing louder or faster, never being affected in any way by that strange question-and-answer dialogue of the trumpet and the woodwinds.
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With woodwinds, it is important to ensure that the mouthpiece is not placed too far into the mouth, which would result in too much vibration (no control), often creating a sound an octave (or harmonic twelfth for the clarinet) above the intended note. If the mouthpiece is not placed far enough into the mouth, no sound will be generated, as the reed will not vibrate. The standard embouchures for single reed woodwinds like the clarinet and saxophone are variants of the single lip embouchure, formed by resting the reed upon the bottom lip, which rests on the teeth and is supported by the chin muscles and the buccinator muscles on the sides of the mouth. The top teeth rest on top of the mouthpiece.
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Current members of the Flauto dolce include Jasmina Matijević (soprano), Marija Sabljić (mezzo-soprano), Aleksandar Jovan Krstić (woodwinds), Srđan Stanić (fiddle), Andrija Sagić (percussion instruments), Ana Mladenović (various woodwinds). Ensemble released their debut album A spark from the darkness after the Settembre Dantesco festival in Ravenna. The album deals with music of the European Middle Ages. Their new and current programs include: "A Spark From the Darkness", "Music of Leonardo Da Vinci's Time", "Court Music XIII - XIX", "Live Images from the Past", "Out of the Centuries of Thunderous Silence", "Nothing But Love", "Baroque Now and Then", "European Middle Ages and Music of old Serbia", "Flute Always and Everywhere", "French Music through the Centuries", "Music of Ancient Greece", "Stella Splendens - The Way of the Pilgrims".
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The Broadway orchestrations by Doug Besterman call for a large twenty-four-piece orchestra, including three violins, two violas, two violoncelli, three trumpets, two trombones, two French horns, four woodwinds, three keyboards, one drum set, one percussionist, and one bass. The London orchestrations, also by Besterman, have been scaled down for a ten-piece orchestra.
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The horns and woodwinds then layer on top of the strings and the dynamics return to fortissimo. It then drops to piano again. Prokofiev creates the dark and foreboding mood through the extreme dynamic range and very dissonant harmonies. The following section is identical with No. 13 of the complete score, Dance of the Knights.
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He led the Crews Middle School band students to LGPE (Large Group Performance Evaluation) for many years with superior ratings. Folds is regarded as one of the best band directors in the state, previously having been president of the Georgia Music Educators Association. Instruments in the band include brass, woodwinds, low winds, and percussion.
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"Peppermint Winter" is a light, waltz-like song that incorporates synth beats and vocals. The beat is mainly formed by jingle bells and occasional heavy drums. Piano is often featured, as well as some orchestrations, such as wooden string instruments and woodwinds. The song is in 3/4 time at approximately 150 beats per minute.
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The City of Parksville is located within School District 69 Qualicum. Springwood Elementary, Oceanside Elementary and Ballenas Secondary School are all located within Parksville. School District 69 also operates a Continuing Education Centre, Collaborative Education Alternate Program and PASS/Woodwinds Alternate School in Parksville. A regional campus of Vancouver Island University is located in Parksville.
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The PLD guard have captured many best overall Colorguard trophies during marching band season and has become a staple of and a strong presence in the Dunbar band. Many of the guard members play instruments during concert season and in their 2002 show they all dropped their flags and played woodwinds in the 2nd movement.
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Cited in McVeagh, 5. Using these forces, Bantock formed groups "of different weights and colors to get something of the varied play of tints and perspective [of an orchestra]".Musicologist Ernest Newman, cited in McVeagh, 6. In addition, the choir is generally divided into three sections, approximating the timbres of woodwinds, brass and strings.
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To replace the departing principals the LSO recruited rising young players including Hugh Maguire, Neville Marriner and Simon Streatfeild in the string sections, Gervase de Peyer and William Waterhouse in the woodwinds, and Barry Tuckwell and Denis Wick in the brass. With the new intake the orchestra rapidly advanced in standards and status.Morrison, p.
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The band became known for its extensive and creative use of a guitar effects device called the Ebow. The EBow is a hand-held electronic device for guitar. The small battery-powered device replaces the pick in the right hand. The EBow produces an infinite sustain, letting the guitarist mimic strings, horns, and woodwinds.
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The Miami University Marching Band performing a halftime show on September 7, 2002 at Yager Stadium in Oxford. The Miami University Marching Band consists of about 270 members, featuring brass, woodwinds, battery, and a pit percussion section. Baton twirlers, a color guard, and a dance team (called the Shakerettes) also perform with the band.
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The Capriccio is scored for solo piano, pairs of woodwinds (flutes doubling piccolo, oboes, clarinets doubling piccolo clarinet, and bassoons), cor anglais, four horns, three trombones, tuba, strings and timpani. In addition to the solo piano, there is a concertino group of soloists consisting of the first violinist, first violist, first cellist and first bassist.
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"Disney's Moana Soundtrack, Featuring Music by Lin-Manuel Miranda, Out Today", broadwayworld.com, November 18, 2016. Mancina composed the score and produced both the score and the songs. In addition to guitars and strings, the score features Polynesian vocals and percussion, woodwinds made from bamboo from the South Pacific, and traditional hide-covered Tyka drums.
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Other brass instruments can also be divided but it is not as frequent as with the Horn section. Woodwinds - especially Flutes and Clarinets - also utilize "divisi" to divide music between parts and even between players of the same part. After a divisi section, it may be cancelled by the instructions tutti, all'unisono. or unison (abbreviated unis.).
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Are small marching music ensembles composed of a variety of instrumentations. Many take advantage of marching horns, as well as woodwinds, rhythm sections, and a pit ensemble, similar to those found in marching bands or drum corps. Unlike their outdoor counterparts, WGI Winds compete indoors on a performance area roughly the size of a standard basketball court.
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From there woodwinds begin a graceful tune, from which brass sound. Strings begin to play, which draws the orchestra into a reprise of the striding theme and its fanfare. In the final measures, the music subsides as the sun sinks over the horizon of the sea. The average playing time is between ten and twelve minutes.
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No. 61a (NBA), the Biblical quotation written in red The work is composed for double choir, double orchestra, and vocal soloists. The choirs are abbreviated Ch I and Ch II, individual voice parts as S (soprano), A (alto), T (tenor), and B (bass). Both choirs are four-part, SATB. The orchestra consists of woodwinds, strings, and basso continuo (Bc).
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The last movement (Uccelli sulle passioni) opens with a subdued interplay between piano, castanets, and pizzicato strings. The rippling piano figurations and passionate string theme from the first movement return, with added "bird sounds" from the highest registers of the piano and also low woodwinds. The passion dissipates into silence after the clarinets give out their last "bird- calls".
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Delius heard Grainger's setting, and was impressed by both the tune and the arrangement. With Grainger's permission, he used the song as the basis of an orchestral work, first performed in 1908. After a pastoral introduction Grainger's setting is replicated by the woodwinds. A succession of variations on the original tune leads to a joyous finale.
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Cottrell played traditional jazz, also referred to as Dixieland, the earliest form of jazz. It is distinguished by polymorphic improvisation by trumpet, trombone and clarinet. It has its origins in the marching bands of New Orleans which played at funerals. The main instruments of the bands, brass and woodwinds, would become the basic instruments of jazz.
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The exposition closes with a codetta and is followed by the development which begins in B minor, using the rhythmic pattern of the second half of the theme. The development ends with the full orchestra. In the recapitulation, the first theme is heard again in D Major. It uses imitative patterns of the woodwinds in the second theme.
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Jason Birchmeier from Allmusic commented that Poquita Ropa "finds Arjona at his most naked, backed by spare arrangements of acoustic guitar, piano, and Hammond B-3 along with occasional touches of strings, woodwinds, and chorus vocals." Poquita Ropa was the first album that Arjona recorded without producer Tommy Torres, whose last production was 5to Piso (2008).
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Altissimo (Italian for very high) is the uppermost register on woodwind instruments. For clarinets, which overblow on odd harmonics, the altissimo notes are those based on the fifth, seventh, and higher harmonics. For other woodwinds, the altissimo notes are those based on the third, fourth, and higher harmonics. The altissimo register is also known as the high register.
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He was appointed head of woodwinds there in 1988. While in Toronto, Berman also served as principal oboe for the Canadian Opera Company orchestra from 1975 to 2004. In addition to his orchestra activities, Berman performed extensively as a soloist, recitalist, and chamber music player. He was a composer and orchestrator whose works were performed regularly.
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Other acts for whom Barnacle has contributed live or in session have included Pet Shop Boys, David Bowie, and ABC. He worked frequently with Stock Aitken Waterman as a session musician in their PWL studios. Barnacle is frequently credited as an arranger of woodwinds, brass and string instrument on his session work. Barnacle also plays flute, keyboards and drums.
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"Woodwind" Encyclopædia Britannica Online. All woodwinds produce sound by splitting the air blown into them on a sharp edge, such as a reed or a fipple. Despite the name, a woodwind may be made of any material, not just wood. Common examples include brass, silver, cane, as well as other metals such as gold and platinum.
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Reed instruments produce sound by focusing air into a mouthpiece which then causes a reed, or reeds, to vibrate. Similarly to flutes, reed pipes are also further divided into two types: single reed and double reed."Woodwind" Encyclopædia Britannica Online. Single-reed woodwinds produce sound by fixing a reed onto the opening of a mouthpiece (using a ligature).
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The symphony is scored orchestra, a mixed choir and two soloists (mezzo-soprano and baritone). ;Woodwinds: :2 Flutes :2 Oboes :2 Clarinets :2 Bassoons ;Brass: :4 French Horns in F :2 Trumpets :3 Trombones ;Percussion: ;Voices: :Mezzo-Soprano Solo :Baritone :Mixed Chorus ;Strings: :Harp :First and Second Violins :Violas :Violoncellos :Double basses (with low C extension).
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Christopher Lee was first choice to play Salem, but was not available. The film is notable for its unusual score by renowned Hollywood film and TV composer Henry Mancini. The music was arranged for synthesizer, 12 woodwinds, organ, two pianos and two harpsichords and Mancini achieved an unsettling effect by having one of the harpsichords tuned a quarter-tone flat.
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Rittershausen is well documented in the New Langewell Index of musical instruments. In 1910 Fischer won the importation rights for woodwinds manufactured by Buffet-Crampon of France. In 1929 the C.G. Conn Ltd. corporation acquired the musical instrument department from the company, maintaining the Carl Fischer retail operations as a consortium between Conn and the music publisher under the Carl Fischer name.
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The Marching Jayhawks, is a 270-piece marching band consisting of woodwinds, brass, percussion, and color guard, representing the University of Kansas in Lawrence, Kansas. The band performs at all home football games and occasionally travels to away games. They also send smaller ensembles to pep rallies around the Kansas City area. The band marches in parades on campus and in downtown Lawrence.
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Both were performed by an ensemble called an orquesta típica, a group with brass, woodwinds and timpani that performed outdoors. When the upper classes decided to dance indoors, the instrumentation was radically altered. The new ensemble was called charanga francesa. Although the word francesa literally means "French," it was used in nineteenth-century Cuba more specifically as a name for Haitian Creoles.
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The score of the 2014 version was written for a 13-musician chamber orchestra with some of the musicians playing more than one instrument. In addition to strings, woodwinds, brasses and bass and snare drums, the instruments included a didgeridoo, Chinese opera gong, Indonesian button gong, and metal wind chimes. The orchestra for the 2018 version was expanded to 35 musicians.
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A synopsis by Ketèlbey mentions solo bells beginning the music, followed by a quiet melody in strings and woodwinds. When repeated, a "chimes effect" provides the illusion of being "heard from a distant belfry across the meadows". Bells accompany a middle section. In a reprise of the first part, the melody is given to the cellos, accompanied by soft chimes.
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Brazil is a 2000 album by Rosemary Clooney. John Pizzarelli accompanies Clooney on vocals on five of the tracks, and sings Antonio Carlos Jobim's "Wave". Diana Krall duets with Clooney on "The Boy from Ipanema". The arrangements primarily feature woodwinds (including several flutes, and saxophone soloist Gary Foster and Nino Tempo), piano and guitar, and do not feature brass instruments.
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This begins with a quiet, searching melody in the strings that slowly rises in pitch. The high strings hold the high notes, and are joined briefly by woodwinds. The low strings suddenly begin a quick march-like tune that is answered by increasingly frantic violins and point-like interjections from the rest of the orchestra. This section gathers frenzy for several minutes.
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"Francis Poulenc", Francis Poulenc: musicien français 1899–1963, retrieved 27 October 2014 Even when he wrote for a large orchestra, Poulenc used the full forces sparingly in his operas, often scoring for woodwinds or brass or strings alone. With the invaluable input of Bernac he showed great skill in writing for the human voice, fitting the music to the tessitura of each character.
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Concert Band is divided into three levels: Band I, Band II, and Band III. Band I consists of freshman. Band II is divided into two classes due to its size: Brass and Woodwinds, and consists of all players who are not freshmen and not in Band III. Band III is the selective top-level Concert Band, with an audition requirement to enter.
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The symphonies are written for a string orchestra. String Symphony No. 11 also contains percussion (timpani, triangle, cymbals) in the second movement. In addition to No. 8 Mendelssohn wrote an arrangement with woodwinds, brasess, and timpani. The work is scored for two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani in D and A, and strings.
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Erwilian became known for using numerous acoustic instruments in their recordings and performances rather than synthesized or electronic substitutes, even for rare instruments. Their collection comprises many different woodwinds, strings, and percussion from diverse genres and cultures including various recorders, whistles, chalumeaux, violin, viola, cello, harp, guitar, bass, hammered dulcimer, mandolin, Appalachian dulcimer, timpani, celesta, harmonium, melodica, accordion, marimba, orchestra chimes, and handbells.
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This strain is loud, intense, and marcato. Its purpose can be found in its title, as it literally breaks a gap between the trio sections, providing contrast to the usually softer trio melodies and generating excitement for the listener. Most breakstrains resemble a conversation between the upper woodwinds and the low brass. The final measures typically contain tension-building chords or chromatic motifs.
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This concert commemorated the unveiling of a monument to Herder on 24 August 1850. In 1855 Liszt revised both the overture and the choruses, added new instruments, mainly woodwinds, which resulted in the expansion of the overture to a symphonic poem and the choruses to a concert stage work. The symphonic poem was first performed on 18 October 1855.Searle, 292.
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The G major second movement provides a welcome relief with its slow, graceful melodies announced by the woodwind section. The movement is in an abridged sonata form. Instead of a development, a brief chorale-like passage is presented by the woodwinds. The rhythmic structures of the first subject theme and the second subject theme provide a subtle, but excellent contrast to each other.
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This sentimental song consists of three related melodies. # Gakavi Yerk (The Partridge's Song) (mm. 30-68) (Con moto), an original composition by Vardapet in common time, has a simple melody which is first stated in the woodwinds and then repeated by the brass. Its simple, delicate melody was intended for a children’s choir and is symbolic of that bird’s tiny steps.
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He added woodwinds to the band and continued to serve as its director until his death in 1880. The band gained a high reputation under his leadership. He composed and is best remembered for his march, Washington Greys."The President's Own" United States Marine Band, Hall of Composers The band was honored in 1922 by John Philip Sousa's The Gallant Seventh march.
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The timbres include piano, strings, acoustic guitar, woodwinds, sitar, kalimba, wind chimes, and drums. The M1 also features effects including reverb, delay, chorus, tremolo, EQ, distortion, and Leslie simulation, an innovative inclusion at the time. According to Sound on Sound, none of the M1's features were unique at the time of release, but were implemented and combined in a new way.
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There are some fluttering, Debussyan woodwinds—and an extended violin solo, almost a cadenza. It smacks of the Gypsy, and I wrote in my notes, 'Czardas?'" He added, "There are many musical ideas in Tread softly, and whether they cohere, I'm not sure. The work is about ten minutes long—our program booklet said so—but it sounded longer to me.
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To heighten drama, he focuses mainly on rhythm, texture and orchestral color. The resulting tension in the first movement does not come from a Germanic transformation of themes. It results from rhythmic opposition between the polonaise rhythm of the aggressive "Fate" motif in the brass and the gentler waltz of the first theme, carried alternately by woodwinds and strings.Maes, 161-162.
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The second main subject of the work is a folk song, first heard in the oboe; it is soon taken up by the first violins. With the quickening of tempo the music becomes more vivacious, with a chattering figure in the woodwinds and violins. The folk song returns, as does the initial theme, leading to a brief coda which concludes the work.
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It is a sacramental litany, Litaniae de venerabili altaris sacramento (Litanies of the venerated sacrament of the altar), venerating the Eucharist. The work in nine movements is scored for the same vocal forces, but a rich orchestra with woodwinds. The work was again modelled after a composition by Leopold Mozart of the same text. The autograph shows some changes from his hand.
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Introduction to the symphonies of Martinů published in Melómano 14, no. 144 (July–August 2009): 58–62 by Martín Llade. The Andante is the most successful and least ambitious slow movement in all of Martinů's symphonies. It is even more nostalgic in character than is ever found in Dvořák, expressed by phrases of a folk-like simplicity exchanged between woodwinds and strings.
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Schtung were a New Zealand progressive rock band active from 1976. The band developed out of school-era bands formed by friends keyboardist/vocalist Andrew Hagen and guitarist/vocalist Morton Wilson. Additional members were: Rob Sinclair (bass/vocals), Paul Jeffrey (keyboards/vocals), Geoff Bowdler drums), and Dave Bowater (woodwinds/percussion). The band signed a recording contract with PolyGram underwater, wearing scuba gear.
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This album saw Paul Kostabi and Richie James Follin teaming up again to produce. They introduced more instruments into the band’s sound including a prominently featured Fender rhodes piano, organ, horns, and woodwinds. It also contains audio samples of animals, church bells, and public chatter. The band was quoted as saying they were trying to make their own little suburban Pet Sounds.
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It was a little less > successful in its third section (Alborada, in B-flat major), where the > brasses somewhat drown the melodic designs of the woodwinds; but this is > very easy to remedy, if the conductor will pay attention to it and moderate > the indications of the shades of force in the brass instruments by replacing > the fortissimo by a simple forte.
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Drums are not the only instruments played in the ensemble; other Japanese instruments are also used. Other kinds of percussion instruments include the , a hand- sized gong played with a small mallet. In kabuki, the shamisen, a plucked string instrument, often accompanies taiko during the theatrical performance. Kumi-daiko performances can also feature woodwinds such as the shakuhachi and the shinobue.
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In turn, Gillespie hired Fischer to write arrangements for a small ensemble featuring brass and woodwinds for his own album, A Portrait of Duke Ellington, which was well received. In 1960 albums for vibraphonist Cal Tjader and pianist George Shearing followed, as did an eight-year career of writing music for commercials, as well as the signing of Fischer's first record contract.
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Bratoš was later recruited as a member of the band. He is known for having played many different instruments. Generally he played rhythm guitar, but periodically harmonica, saxophone, mandolin, melodika, clarinet, and woodwinds and sometimes keyboards, synthesizers and singing backup vocals. Bratoš was able to add horn arrangements as well as other string instruments which the band became known for in the 1990s.
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A one-in-a-bar scherzo, it begins softly with strings before the flute enters, accompanied by chamber-like subdued textures from the orchestra. The soloist has dialogue with both the woodwinds and the timpani during this section, giving the impression of dry wit. This section too climaxes near its end, before ending softly and mysteriously, leading into the final Adagio.
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Otherwise the surface of the music constantly changes via orchestration and dynamics. Strings, brass, woodwinds, and percussion, deployed in distinct layers or in combinations of instrumental sections, vie for the foreground. Sharp attacks in piano and percussion are offset by sustained music in strings or winds, low sounds contrast with high, unpitched with pitched, all coming together in a satisfying, powerful narrative.
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The overall image was younger and funkier. Paul Baillargeon put together a new band. He kept the two backup singers Simon Leclerc and Catherine Léveillée and hired Florent Richard on bass, Gilles Valiquette took care of the guitars, synthesizers and sequencers. With Baillargeon's keyboards, drums and the strings and woodwinds added by the sequencers, the sound was smooth, rich and modern.
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Recitatives were hampered by some pedestrian harpsichord continuo work. The orchestra, if not the most sumptuous of ensembles, played with warmth and accuracy and was blessed with some first-rate woodwinds. Alain Lombard's conducting was animated and accommodating, although it was marred by an unfortunate bias towards slow tempi. The album's audio quality, if "not particularly spacious", was perfectly acceptable.
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The Allegro in a modified sonata form begins with the solo harp expanding the material presented before. The woodwinds expose a second theme, accompanied by pizzicato. After a fortississimo climax in the development, a harp cadenza leads to a "straightforward" recapitulation and a close "without extensive fireworks or bombast of any kind". The work takes about 11 minutes to perform.
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After the Blue Stars name had been returned to the corps, a cadet corps for younger members was formed. Initially, this was a parade drum and bugle corps. In order to broaden its appeal, the Blue Star Cadets were converted to a youth band with woodwinds as well as brass and percussion instruments. The group has been inactive for several years.
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The Bloomingdale Cornet Band, from Bloomingdale, New Jersey, is the oldest continually active band in the Garden State. It is categorized as a Community band. The band is composed of amateur and professional volunteer members and is fully active, marching in parades and performing in concerts primarily in the northern New Jersey area. The instrumentation consists of brass, woodwinds and percussion instruments.
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After this comes a short coda. The first theme (Allegretto vivo) gives thematic material for the whole piece. It is a lilting ascending melody played by the strings and then accompanied by the woodwinds. However, one soon realises that it is a motto and serves as just an introduction to the main (second) theme, which is much more joyful and vigorous.
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As a studio musician, Mr. Eustache has often provided solo woodwind for recording sessions in Los Angeles. He has done many studio sessions for movies as a flute/woodwinds instrumentalist --- including being the main world woodwinds soloist for Mel Gibson's The Passion of the Christ soundtrack, written by John Debney. He won the 2007 Film & TV Music Award for Best Instrumental Performance by a Soloist in a Film or Television Score category for his work in Hans Zimmer's Pirates of the Caribbean: At World's End. He played Middle- Eastern flutes, reeds and Armenian duduk featured in Steven Spielberg's Munich (nominated for both the 2006 Oscars and the 49th Grammy Awards for 'Best Soundtrack'), composed and conducted by John Williams, as well as King Kenacho & Bs. Persian Ney in “Indiana Jones and the Kingdom of the Crystal Skull”.
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After the whole orchestra has been effectively taken to pieces in this way, it is reassembled using an original fugue which starts with the piccolo, followed by all the woodwinds, strings, brass and percussion in turn. Once everyone has entered, the brass are re-introduced (with a strike on the tamtam) with Purcell's original melody. The sections of the piece and instruments introduced by the variations are as follows. ;Theme: Allegro maestoso e largamente :Tutti (D minor), woodwinds (F major), brass (E♭ major), strings (G minor), then percussion (written in A major) ;Variation A: Presto :Flutes and Piccolo ;Variation B: Lento :Oboes ;Variation C: Moderato :Clarinets ;Variation D: Allegro alla marcia :Bassoons ;Variation E: Brillante: alla polacca :Violins ;Variation F: Meno mosso :Violas ;Variation G: Lusingando :Cellos ;Variation H: Cominciando lento ma poco a poco accel.
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At length, the dynamic suddenly softens to pianissimo and a new mood is created, where small motivic fragments are quietly passed between instruments in the orchestra above low string pizzicato – the effect is of mysterious, pulsating energy (the tempo remains Allegro). Intensity and urgency is gradually built up again, though the dynamic feels suppressed. A crescendo is built up until a new passage of energy is released, where a fast motive based on the note D is obsessively repeated, initially in the first violins and later passed to the woodwinds, above a dramatic tremolo from the violas and cellos. The woodwinds and brass play harmonic fragments, often juxtaposing major thirds in a high register above the darkly dissonant harmonic texture. All this energy culminates in a huge fugato (based on material already present), marked ‘Intensivo’, which breaks away from the harmonic field.
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Some ensembles blend the sounds of a variety of instrument families, such as the orchestra, which uses a string section, brass instruments, woodwinds and percussion instruments, or the concert band, which uses brass, woodwinds and percussion. In jazz ensembles or combos, the instruments typically include wind instruments (one or more saxophones, trumpets, etc.), one or two chordal "comping" instruments (electric guitar, piano, or Hammond organ), a bass instrument (bass guitar or double bass), and a drummer or percussionist. Jazz ensembles may be solely instrumental, or they may consist of a group of instruments accompanying one or more singers. In rock and pop ensembles, usually called rock bands or pop bands, there are usually guitars and keyboards (piano, electric piano, Hammond organ, synthesizer, etc.), one or more singers, and a rhythm section made up of a bass guitar and drum kit.
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For example, the mass dated 24 February 1740 is scored for two choirs (the final 'cum Sancto Spiritu' is a ten voice fugue), full strings divided, in some sections, in two orchestras, woodwinds (no clarinets), horns and trumpets in pairs. It displays a highly detailed orchestral writing: muted strings, seconda corda instructed in passages for the violins, plenty of orchestral crescendos and diminuendos, solo parts for the woodwinds and for the viola. In this period, Perez treated solo voices in a manner similar to operatic arias, most fugues or fugato sections have very symmetrical entries of themes, and the pieces in the so-called stile antico are conservative in harmony and notation. Unlike the operas, there is no definite date when it is possible to see a change in the style of Perez's late church music.
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The work is divided into five main sections, with three additional parts whose names are anagrams of each other. 1: Angels: The opening of the piece involves a horn solo over which glittering, ethereal figures are played on high woodwinds, gongs and string harmonics. 2: Aurochs: Inspired by a now-extinct bull of humongous size. The Aurochs was a cattle native to Europe, Asia, and North Africa.
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The piece begins in D♭ major with a single held note in the 1st clarinets and gentle wind chimes underneath. The remaining clarinets join the chimes to support the oboe melody. Proceeding to the first theme, the texture becomes thicker, and the bass clarinet, bassoons, euphoniums and tubas now play the accompaniment. In theme two, the whole brass section accompanies the melody of the upper woodwinds.
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The work is a "fantasy on Gypsy themes". After a short percussion entrance, the piece progresses with slow and dramatic chords voiced by the low woodwinds and mirrored by the low brass. A short interlude by high winds brings the piece to an outburst from the strings--a theme echoed various times throughout the piece. The middle of the piece is drawn-out, being orchestrated as "lugubrious".
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He has toured with The Cleveland Orchestra performing Ingolf Dahls's Saxophone Concerto. He serves as principal with the Saint Louis Symphony Orchestra, Flint Symphony Orchestra, and the Grand Rapids Symphony. Lulloff currently is professor of saxophone and area chair of woodwinds at Michigan State University, and continues to perform in various engagements. Prior to this, he served as the professor of saxophone at the University of Illinois.
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Difficult key signatures and numerous accidentals were thus largely avoided. With the invention of the airtight pad, and as key technology improved and more keys were added to woodwinds, the need for clarinets in multiple keys was reduced.Lawson, p. 25 However, the use of multiple instruments in different keys persisted, with the three instruments in C, B, and A all used as specified by the composer.
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Donato Lovreglio (6 December 1841, in Bari - May 1907, in Naples) was an Italian flautist and composer, mainly of music for his own instrument and other woodwinds. He was a native of Bari, and later moved to Naples, where he died. Among his compositions are numerous concert fantasies and arrangements of themes from a number of Giuseppe Verdi's operas, including Simon Boccanegra, Don Carlos, and La traviata.
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Symphonic black metal is a style of black metal that incorporates symphonic and orchestral elements. This may include the usage of music workstation keyboards to conjure up "pseudo-orchestral" landscapes with default presets (e.g. strings, choirs, piano, organs, and pads), or full orchestral arrangements containing woodwinds, brass, percussion, keyboards and strings. Bands may feature solo instruments such as violins in addition to virtual or live orchestral arrangements.
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This segways into a simple, eerie rhythm set by the harp, playing nine consecutive whole notes with a rich harmony of woodwinds above. After several repetitions of the opening material, the movement climaxes with Romantic intensity, the pulsing strings complemented by confident trumpets and timpani. There is an extended decline, which then merges into the concluding passages. The second movement ends tenderly, with quiet nostalgia.
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The second instrumental passage in the act is a shorter festive piece with trumpets and drums, trombones, woodwinds and strings, depicting the holiday of the New Moon. A chorus in the key of D major, with a chromatic fugal section at the end, concludes the act as the chorus denounce the King as a monster for the attempted murders of both Jonathan and David.
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Woodwinds are recorders, flauto traverso (transverse flute) (Ft), oboe (Ob), oboe d'amore (Oa), and oboe da caccia (Oc). Strings are violin (Vn), solo violin (Vs), viola (Va), lute (Lt), and viola da gamba (Vg). Continuo are violoncello, double bass, bassoon, and organ. The Bible story is told by the Evangelist (Ev) in secco recitative, and by the characters that have direct speech in the narrative.
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He also soloed extensively in Middle-Eastern woodwinds & duduk with the London Symphony Orchestra for the film, The Body. Other film soundtrack work includes "Kung Fu Panda", "American Gangster", "Rendition", "David & Fatima", "Body Of Lies", "Don't Mess with The Zohan", "Syriana", "The Village", "Blood Diamond", "King Kong", "Tropic Thunder", "The Tale Of Despereaux", "The Stoning Of Soraya M.", "The Mummy 3", "Beverly Hills Chihuahua", among many other.
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He listened to the earlier games' soundtracks to "immerse [himself] in the Tomb Raider world". The soundtrack was recorded in Nashville by a 52-piece string- and-brass orchestra, including cello, woodwinds, dulcimer and a handpan developed by Saraz Musical Instruments. The Siberian music features an instrument similar to a gusli and low-pitched male singing. Dynamic Percussion System middleware creates music as the game is played.
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Each semester the department offers a Special Production, focusing on a particular repertory. Recent productions have included a Latin Dance Party, Music for Louis XIV and Traditional Irish Music. Private instruction is available in voice and on keyboard, guitar, brass, woodwinds and strings. Three informal student-directed collegiate a cappella groups, The Saints, The Sinners, and The Upbeats are active both on and off campus.
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The group was originally formed as a fanfare in 1898, in honor of the inauguration of Queen Wilhelmina. The name, Patientia Omnia Vincit (Patience Conquers All) was selected by the principal of the Catholic school, Mr. Van Eindthoven. After 25 years, it was decided the group should become a band, with brass, percussion, and woodwinds joining the orchestra. The change was well received within the Soest community.
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The fifth and last movement, "Village," is based upon two Iroquois melodies, one in the plucked strings and one played by flute and piccolo accompanied by strings and woodwinds. A pre-1972 recording was issued by the American Recording Society. It was by Edward MacDowell and included Suite No. 2, Opus 48. A recording of the suite exists; it is distributed by the Naxos Records label.
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The piece is cast in five overlapping movements that are played without pause. Each section, except the last one, highlights a particular instrumental group, allowing Métaboles to be described as concerto for orchestra. It opens with a series of chords played by the woodwinds and centered on E natural, with short interjections by pizzicato strings and harp. The sound world is reminiscent of Stravinsky's early "Russian Period".
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The Lincoln High School Patriot Marching Band consists of 250 members, composed of woodwinds, brass, color guard, front ensemble, and drumline. The band performs in regional field competitions and street competitions. The band has appeared in the Tournament of Roses Parade in Pasadena, California in 1992, 1998, 2005 and 2013. Sioux Falls Lincoln marched in the 1994, 2000, and 2008 Macy's Thanksgiving Day Parade.
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The arrangements also take influence from funk, jazz fusion, dub, reggae and ambient music. These features are frequently mixed with electronic elements, including densely layered arpeggiated synthesizers, pads, synth basslines, effects and programmed drumbeats. Ozric Tentacles also use a wide range of instruments in their performances. In addition to regular rock band instruments, woodwinds, ethnic percussion, koto, saz and sitar have appeared throughout their music.
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Portrait of Franz Schubert by Franz Eybl (1827) The Mass No. 3 in B-flat major, 324, is a mass composed by Franz Schubert in 1815. It is four soloists, a four-part choiur and orchestra. While by length it could be a missa brevis, its large orchestral force with trumpets, timpani and woodwinds has also led to its classification as a missa solemnis.
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By late 1966 Gardner had joined Frank Zappa & the Mothers of Invention, playing tenor sax and other woodwinds. The Mothers found success, with Absolutely Free and We're Only in It for the Money entering the charts. In late 1968 his brother Buzz Gardner joined the Mothers, staying until the group disbanded a year later. Gardner played with Menage A Trois with Buzz and John Balkin.
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Mangione's band consisted of Geissman on guitar, Charles Meeks on bass, Chris Vadala on woodwinds, and James Bradley Jr. on drums. Geissman appeared on the album Feels So Good (1977), which sold two million copies. On radio, the single "Feels So Good", featuring Geissman's guitar solo, was an international hit. A 1980 issue of Current Biography called it the most recognized tune since "Michelle" by The Beatles.
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The last four measures return to the initial Adagio tempo. Logically this ought to be faster than the preceding music, which was Adagio then Largamente molto (broadening — that is, slowing — a lot), but most conductors slow down. The strings play a version of the theme from bars 11–12 against a grand C major chord held by the brass and woodwinds. Lionel PikePike, Lionel.
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The cantata opens with a jaunty trumpet theme in D-flat major, spiced with the typical Prokofievian note-slips. After a repeat of the theme by muted trumpet and piccolo, strings and woodwinds continue to develop the theme. The chorus then introduce a glowing theme a cappella, which alternates with pure orchestral sections. The climax is reached half-way, when the chorus and the orchestra perform together.
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Symphony orchestra, on the other hand, is a large-scale orchestra that can have up to eighty or more members, which is led by a conductor and is performed with instruments such as strings, woodwinds, brass instruments, and percussion. For choral style pieces, concerts include Choral music, Opera, and musical theater. Each encompassing a variety of singers who are organized by a conductor or director.
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Mariachi band playing at the Tenampa in Mexico City. Prior to the arrival of the Spanish, indigenous music was played with rattles, drums, flutes, and conch-shell horns as part of religious celebrations. The Spanish introduced violins, guitars, harps, brass instruments, and woodwinds, which mostly replaced the native instruments. The Europeans introduced their instruments to use during Mass, but they were quickly adapted to secular events.
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In his Kitab al-Shifa (Book of Soul Healing), he proposed another taxonomy, of five classes: fretted instruments, unfretted (open) stringed, lyres and harps, bowed stringed, wind (reeds and some other woodwinds, such as the flute and bagpipe), other wind instruments such as the organ, and the stick-struck santur (a board zither). The distinction between fretted and open was in classic Persian fashion.
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Clarinet embouchure. With the woodwinds, aside from the flute, piccolo, and recorder, the sound is generated by a reed and not with the lips. The embouchure is therefore based on sealing the area around the reed and mouthpiece. This serves to prevent air from escaping while simultaneously supporting the reed, allowing it to vibrate, and constrict the reed preventing it from vibrating too much.
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Doreen Ketchens, D'Addario Woodwinds website. Ketchens has been sharing traditional American Jazz in Africa, Asia, Canada, Europe, South America, Russia and the United States. They have performed with programs sponsored by Jazz at Lincoln Center and The US Department of State. Doreen's Jazz New Orleans has more than 25 albums and five CDs that they record and sell through the private DJNO Records label.
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The work exists in two different scorings: the original 1909 version for a very large orchestra and the revised version of 1949 which reduces the size of the orchestra to more- or-less normal proportions, "giving up the contrabass clarinet, as well as the four-fold scoring of the other woodwinds and two of the six horns". This version was published posthumously in 1952.
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Belli later said that the invention "changed everything in the whole musical instruments category; it was no longer woodwinds and brass winds and strings. It became guitars and amplification and drums." His company grew to accommodate a large factory in Valencia, California, where he lived. He also developed a range of other percussion instruments, and became an advocate for the use of drumming as therapy.
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The work's premiere was two years after completion, also. Myaskovsky had by then already tinkered with/revised the symphony. A musical pointer in this symphony is two fragments in movement 2, where woodwinds turn and turn again around a fugal motif. The work was dedicated to Maximilian Steinberg, whose third symphony and a symphonic poem Prinses Marlene had earlier been converted by Myaskovsky into piano reduction.
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Reynolds has released six solo albums—The Neighborhood (2019), The Space Between the Lines (2006), Pictures And Sound (2008), Maps (2010) and After The Flood (2014), and Vanishing Places Vol. 1 Bears Ears (2019), which was written and recorded based on a series of field recordings he made in Bears Ears National Monument. James Gadson played drums and Lars Horntveth contributed horns, woodwinds, and keyboards.
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Goldenberg then composed the score in about a week, for strings, harp, keyboards and heavy use of percussion instruments, with Moog synthesiser effects but eschewing brass and woodwinds. He then worked with the music editors to "pick from all the pieces (they) had and cut it together (with the sound effects and dialogue)." Much of his score was ultimately not used in the finished film.Jon Burlingame, pp.
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All the three sections of this theme are heard. The remnants of the woodwinds motive lead to the motto theme, played at first in E and then in A major. It goes directly into another slow tempo section (Un poco più lento), where the third theme is given in the home key. In the coda (Tempo del inizio) the motto and the main theme are heard simultaneously.
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A horn section is a group of musicians playing horns. In an orchestra or concert band, it refers to the musicians who play the "French" horn, and in a British-style brass band it is the tenor horn players. In many popular music genres, the term is applied loosely to any group of woodwind or brass instruments, or a combination of woodwinds and brass.
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The third movement, which Prokofiev himself called an "argument" between soloist and orchestra, begins with an A-minor statement of the main theme in bassoons and pizzicato strings, interrupted by the piano's assertive entrance with a conflicting theme. Interplay between the piano and orchestra builds up steam, with a brief quickening of tempo (foreshadowing the lengthy Coda) before arriving at a slow, lyrical secondary theme (C♯ major/minor) in woodwinds. The piano offers a rather sarcastic reply, and the slow theme develops, through another Rachmaninoff-esque restatement and another ethereal exploration (the soloist running up and down the keyboard softly over gently dissonant muted woodwinds), into a united climax with piano and strings in unison, then fading into the Coda. This is the most virtuosic section of the concerto, with an allegro restatement of the main theme, again in bassoons, but in E minor.
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The 1887 version requires an instrumentation of three each of the following woodwind: flutes, a piccolo in the climax of the Adagio, and doubling the third flute in the Finale, oboes, clarinets, bassoons (the third doubling as contrabassoon in the Finale), and eight horns – the triple woodwinds and horns 5 to 8, however, only enter in the Finale (with double woodwind and four horns for the earlier movements) – in addition to three trumpets, three trombones, a quartet of Wagner tubas and a single contrabass tuba, along with timpani, cymbals, triangle, three harps, and strings. The 1890 version deletes the piccolo part, and extends the triple woodwinds and calls for eight horns on all four movements. Horns 5 to 8 replace the Wagner tubas in most of the first and third movements, doubling as Wagner tubas at some points of the symphony. This is the only symphony where Bruckner employs the harp.
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Masakazu Yoshizawa was born on September 10, 1950, in Hida, Gifu, Japan. His mother was the only obstetrician in their village and his father was a veterinarian. Yoshizawa was required to play a musical instrument in his elementary school. He began playing the accordion when he was 9 years old, and soon moved to the piano, several woodwinds and the shakuhachi, which he was to become world-famous for playing.
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The Allmusic review by David R. Adler stated "Rabih Abou- Khalil's ninth Enja release features one of his most expansive lineups to date -- 12 pieces in all, including oud, brass, woodwinds, cello, and percussion. It's quite a departure from 1999's austere Yara. Here the tempos are bright, the unison lines darting and difficult, the improv heated, the tonal combinations ever-changing. Heavy-hitting jazzers dominate the band roster".
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Even this isn't enough to satisfy the little goat, as Billy then eats the moon, taking the moonlight along with it and leaving the Earth in darkness. The wolf lights a match and says "Goodnight, y'all-y'all-y'all-y'all" as the cartoon closes. The recurring melody played by woodwinds and/or whistled from 2:21 onward is the Civil War tune "Kingdom Coming" or "The Year of Jubilo".
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A brisk fugue for full choir and orchestra ("Hosanna in excelsis") follows. The whole is repeated with the addition of pianissimo cymbal and bass drum to the "Sanctus" and a much expanded "Hosanna" fugue. Berlioz suggested that the solo part could be sung by ten tenors. The final movement, containing the "Agnus Dei" and Communion sections of the Mass, features long held chords by the woodwinds and strings.
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Messner was the youngest of five male siblings. An older brother, Dick Messner, was also a musician and bandleader. All five brothers performed together in Johnny's orchestra: Dick (piano), Johnny (violin and clarinet), Charlie (né Charles Messner; 1905–2003) (woodwinds), Bill (né William Messner; 1904–1982) (drums), Fred (né Frederick Messner; born 1902) (violin). The Five Brothers made their radio broadcast debut in 1923 on NBC, then known as WJZ.
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Keith Obadike was born in Nashville, Tennessee. His mother worked as an administrator at the Post Office and his father (who studied briefly with inventor Buckminster Fuller) was an electrical engineer from Nigeria. While growing up in Nashville, Keith studied classical piano, woodwinds and began programming BASIC on a TRS-80 computer. As a teenager he became a sought after sound designer and producer on the local hip-hop scene.
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The band composed original music for the film, by adding electronic music to hand drums, woodwinds and strings.Deanne Williams, "Mick Jagger Macbeth," Shakespeare Survey: Volume 57, Macbeth and Its Afterlife: An Annual Survey of Shakespeare Studies and Production, Cambridge University Press, 2008, p. 152. Elements of music in India and the Middle East and jazz were also incorporated into the score.Christopher Sandford, Polanski, Random House, 2007, p. 222.
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The Flanagan High School Wind Orchestra competed at the Grand National Adjudicators Invitational, in Chattanooga, Tennessee. The Flanagan Wind Orchestra was awarded the highest honor of Grand Champion, and was recognized with the “Honor Award” for exceptional achievement as a superior performance group. Flanagan also received the “Judge’s Award” in recognition of Outstanding Woodwinds and Percussion in Concert Performance. This was the ensemble's first year attending the Grand NAI.
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Further, for the overall score, Zimmer added an ensemble of 34 strings, 24 woodwinds and four pianos and recorded it at AIR's Lyndhurst Hall studios. Zimmer himself played the solo piano for the scenes in the film near Saturn. He also added a 60-voice mixed choir. Per Zimmer, the concept of air and breath resonates throughout the score, as the film revolves much with astronauts in spacesuits.
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Woodwinds: 2 flutes (2nd doubling piccolo), 2 oboes (2nd doubling cor anglais), 3 clarinets (2nd doubling Eb clarinet, 3rd doubling bass clarinet), 2 saxophones doubling on soprano and tenor, 2 bassoons (2nd doubling double bassoon). Brass: 4 French horns, 3 trumpets, 3 trombones, euphonium, tuba. Percussion: timpani, triangle, woodblock, tambourine, flexatone, ratchet, snare drums, cymbals, bass drum, tam-tam, xylophone, bayan, harmonium. Strings: violins, violas, cellos, double basses, banjo.
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The section principal in an orchestra, as well as any large musical ensemble, is the lead player for each respective section of instruments. For example, there are multiple sections in an orchestra. The strings, woodwinds, brass, and percussion sections all have subsections. The first violins, second violins, violas, cellos, double basses, flutes, clarinets, oboes, bassoons, trumpets, trombones, French horns, tubas, and percussion are all subsections, each led by a principal player.
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The previous year, he gave a recital on the Wanamaker Organ in Philadelphia, the largest functioning musical instrument in the world. He has also appeared in concert as a harpsichordist, pianist, and conductor (choral and orchestral). As a composer, he has written compositions for string orchestra, woodwinds, organ, piano, voice and chorus. In January 2000, his composition Elegy for string orchestra and oboe was performed live on television in Japan.
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Schnittke biographer Alexander Ivashkin writes, "The Symphony is written for a large orchestra consisting of double the standard number of woodwinds, 4 French horns, 4 trumpets, 4 trombones, 1 tuba, an extensive range of percussion instruments, piano, harpsichord, organ, celesta, 2 harps, an electric guitar and a bass guitar. The mixed chorus is a chamber one, including four soloists of each voice."Ivashkin, notes for Chandos 9519, 5-6.
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Grizzly Bear is an American rock band from Brooklyn, New York, formed in 2002. The band consists of Edward Droste (vocals, guitar, keyboards, omnichord), Daniel Rossen (vocals, guitar, banjo, keyboards), Chris Taylor (bass, backing vocals, woodwinds, producer), and Christopher Bear (drums, backing vocals). The band employs traditional and electronic instruments. Their sound has been categorized as psychedelic pop, folk rock, and experimental, and is dominated by the use of vocal harmonies.
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Armenian Dances (Part I) was completed in the summer of 1972 and first performed by the University of Illinois Symphonic Band on January 10, 1973. The piece is dedicated to Dr. Harry Begian, the director of that ensemble. The work includes five distinct sections: # Tzirani Tzar (The Apricot Tree) (mm. 1-29) (Broadly, and sustained), which opens the piece, begins with a short brass fanfare and runs in the woodwinds.
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Retrieved on August 10, 2020. and subsequently re-released with an additional track as an EP in 1997.Squirrel Nut-Zippers: Roasted Right EP Discogs.org. Retrieved on August 10, 2020. Unlike later music by the Zippers, Roasted Right features a more blues-based sound without brass or woodwinds. The tracks "Anything But Love" and "Wash Jones" are early versions of songs later re-recorded for full-length albums.
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Eventyr (Once Upon a Time) is a tone poem for orchestra composed by Frederick Delius in 1917. It was given its premiere in London on 11 January 1919, under the direction of Henry Wood. "Eventyr" means "adventure", and the inspiration for the piece was a fairy tale from Norway. After a twenty-bar introduction, a fantastic theme is played first by the bassoons and then by the other woodwinds.
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Instruments evaluated include voice, piano, strings, woodwinds/brasses, and percussion. NYSSMA scores and evaluators' comments are often used by music teachers as diagnostics and progress monitoring. They also determine selection into orchestra, band, or choral groups depending on their instrument. Students who play saxophones, brasses or percussion or sing can choose to be evaluated in NYSSMA Jazz Festival where they have an opportunity to be selected into various jazz ensembles.
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The first movement begins with dissonant chords, which create a mysterious atmosphere. Only the last one of these chords has a clear kind of tonality rooted in E minor, and introduces the second theme, which is marked with "Moderato malinconico". This melody is contrapuntally varied with the first theme (the theme associated with the dissonant chords). Still later there is a new theme in triplets in the woodwinds.
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When a regimental military band (woodwinds and brass) were also present, the fifes and drums marched at the head, followed by the military band. This is still the custom with British Regimental bands. To this day, the drum major's preparatory command to move a British Army band is, "Band and Drums...". This is referring back to the segregation of the fifes and drums as a separate entity from a military band.
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The single "7 and 7 Is", released in July 1966, gained notice for the exceptional guitar work of Johnny Echols and proto-punk style drumming of Pfisterer. The single became Love's highest- charting single at No. 33 in the Billboard Hot 100. Two more members were added around this time, Tjay Cantrelli (real name John Barbieri) on woodwinds and Michael Stuart on drums. Pfisterer, never a confident drummer, switched to harpsichord.
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Jason Birchmeier from Allmusic commented that Poquita Ropa "finds Arjona at his most naked, backed by spare arrangements of acoustic guitar, piano, and Hammond B-3 along with occasional touches of strings, woodwinds, and chorus vocals." Poquita Ropa was the first album that Arjona recorded without producer Tommy Torres, whose last production was 5to Piso (2008). The album is similar in style to Arjona's work on Galería Caribe (2000).
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Jason Birchmeier from Allmusic commented that Poquita Ropa "finds Arjona at his most naked, backed by spare arrangements of acoustic guitar, piano, and Hammond B-3 along with occasional touches of strings, woodwinds, and chorus vocals." Poquita Ropa was the first album that Arjona recorded without producer Tommy Torres, whose last production was 5to Piso (2008). The album is similar in style to Arjona's work on Galería Caribe (2000).
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Visual and Performing Arts majors specialize in one of eight programs: Creative Writing, Dance, Drama, Vocal Music, Piano, Instrumental Music (Strings, Woodwinds, or Brass), Commercial Art or Commercial Photography. These majors typically include multiple classes per day and participation in certain extracurricular events and activities as part of the requirements. World Language students may choose Spanish, French, Chinese, or Italian. The Italian program was introduced in the 2012–2013 school year.
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The Mounted Band of the Ecuadorian National Police uses brass, woodwinds and percussion (sans the timpani). The Ecuadorian Army's Eloy Alfaro Military Academy uses the same format as French bands but without the bugles, as they are part of the Corps of Drums. The fanfare band of the Presidential Mounted Ceremonial Squadron, also of the Army, is composed only of timpani, fanfare trumpets, a snare drum and sousaphones (when mounted).
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Notable among the pieces added for 1732 is the opening arioso for Esther, "Breathe soft ye gales", scored for strings and two each of bassoons, recorders and oboes. The woodwinds and strings are at first divided into numerous different parts, as they play against a background of a contrasting group of continuo instruments consisting of organ, harpsichord, theorbo and harp. The instruments then join together to create a lush texture.
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The marching band uses many different instruments of varying range and sound in its ranks. Providing a central point to tempo and beat by conducting on the sideline are the four Drum Majors. The hornline is divided into two major groups: woodwinds and brass. In addition to the hornline, the band also uses a percussion section that is divided into a marching battery of drums and a stationary sideline pit.
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In March 1974, Spirogyra undertook their last tour, with Martin Cockerham (vocals and guitar), Barbara Gaskin (vocals and electric piano), Rick Biddulph (bass and guitars) and Jon Gifford (woodwinds). The new, rather experimental material was promising, but never made it on a fourth studio album. New titles were "The River", "Waves" and "Sea Song". Cockerham lived abroad for many years but returned to England early in the new millennium.
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Unlike traditional Cumbia from Colombia, Peruvian Chicha bands feature electric lead and rhythm guitars, electric bass, electric organ, electronic percussion and synthesizer. There are one or more vocalists who may simultaneously play percussion plus timbales and conga players. There are no accordions nor woodwinds. Electric guitars make extensive use of the fuzzbox and the wah-wah pedal following the influence of psychedelic rock and surf rock in Chicha.
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EMI's production team had favoured strings over woodwinds and voices but not culpably so, and had achieved an audio quality commendable for "its clarity, its warmth and beauty of sound and its exceedingly wide dynamic range". The album, in short, was "splendid". Goodfriend, James, Stereo Review, March 1980, p. 100 Mary Garden in the American première's tower scene J. B. Steane reviewed the album on LP in Gramophone in April 1980.
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In hand vibrato, the pitch is shifted up and down, like a vocal vibrato. The player gently moves one end of the pan flute (usually the high end) somewhat similar to violin vibrato. Breath, or throat vibrato, which is more accurately described as a tremolo or volume swell, is the same technique used by players of the flute and other woodwinds by use of the player's diaphragm, or throat muscles.
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This is the shortest and most jovial and most obviously neoclassical of all the movements. It starts with a happy and bubbling theme on woodwinds which forms the basis of the whole movement. In the more animated middle section (where the woodwind indulges in some trilling baroquery) a second theme on trumpet is countered by the main theme in a delightfully contrapuntal way before winding down into stillness.
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Released in 1997, and building on the style established in Adiemus: Songs of Sanctuary, Jenkins broadens his musical approach to Cantata Mundi by including instrumentation and techniques from Eastern Europe, Arabia, and Asia. Compared to the earlier work, the orchestra is also expanded to include woodwinds and brass. The overall form of this album is a cantata of fourteen movements alternating between longer 'cantus' pieces and brief 'chorales'.
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At the Dixie Classic 2003 in Richmond, VA the band received a Superior rating and earned the Honor Award and Outstanding Woodwinds for the festival. The band attended the Dixie Classic National Adjudicators Invitational (NAI) in St. Louis, MO in 2004. In 2005 the band attended Festival! in New York City, and in 2006 Dixie Classic NAI in Washington, DC. The current band director is Mr. Anthony Gaskin.
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Mandarins moved into Division I (now World Class) in 2003, and their highest finish has been 10th place, earned in 2018. In 2014, the Mandarins and the Sacramento State Department of Music entered into a partnership to conduct the Mandarins Academies. These are performing arts camps held on the Sacramento State campus to help youth develop their skills in brass, percussion, woodwinds, and color guard performance, and in drum major conducting.
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Carnival in Petrograd in about 1919 Archeology and direct evidence show a variety of musical instruments in ancient Russia. Authentic folk instruments include the Livenka (accordion) and woodwinds like zhaleika, svirel and kugikli, as well as numerous percussion instruments: buben, bubenci, kokshnik, korobochka, lozhki, rubel, treschetka, vertushka and zvonchalka. Chastushkas are a kind of Russian folk song with a long history. They are typically rapped, and are humorous or satiric.
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Jeff Cannata is an American, Connecticut-based musician, songwriter, and record producer. Cannata was a founding member and driving force behind the New Haven-based, progressive rock band Jasper Wrath. He was the drummer for the group, however he also sang, played woodwinds, and wrote a majority of the songs on their 1971 self-titled debut album. The band retained a local following and continued touring until they disbanded in 1976.
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Little Musicals For Little Theatres, Hal Leonard Corporation, 2006, , p. 15 The director was Arthur Laurents, with sets by Philipp Jung, costumes by David Murin, lights by Paul Gallo, musical staging by Linda Haberman, and musical direction by Frederick Weldy. The band consisted of Weldy (Keyboard), James Stenborg (Keyboard), Rick Heckman (Woodwinds), Russ Rizner (French Horn), Jeffrey Szabo (Cello), John A Babich (Bass), and Glenn Rhian (Percussion).Goodman, Walter.
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Hemke is on the faculty of Northern State University in Aberdeen, South Dakota, where he is the Jazz Ensemble director and assistant professor of applied woodwinds, woodwind methods, instrumental techniques. Prior to joining the faculty at Northern, he served for ten years as Director of Jazz Performance Studies and saxophone instructor at the University of Missouri in Columbia. He has taught saxophone at the Bemidji Arts Camp in Bemidji, Minnesota.
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The suite is written in five movements. #Jeu de sons: Andantino un poco rubato #:This movement is a sonata structure with a slow introduction which recurs at the end to round off the piece. The Jeu (Play) here is simply between string phrases whose endings are echoed by the woodwinds. However, when the fast movement begins, the constant changes of texture, accompanied by matching quick shifts between string and wind tones, are noticeable.
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The first part contains the melody that the trumpet keeps and the several supporting parts. The second third is the section where the low brass (mainly the tubas) take over with the chromatic scale like role. Finally there is a trio, or a softer melodic section, where there is a strong balance between woodwinds and low brass. The trio has a part similar to the second third with a chromatic scale-like sound.
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As was her habit, Armatrading embarked on a tour to promote the album after its release. It was this tour that gave rise to her second live album, Live: All the Way from America, when a concert from the tour was recorded in Saratoga, California in June 2003. The band for the tour featured Armatrading on vocals and all guitars, Gary Foote on reeds, woodwinds, and percussion; and Spencer Cozens on keyboards.
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A brief break comes in the form of a transition passage with repetitive three-note figures played by high strings, accented by slap pizzicati in the cellos and basses. A slower and sharply accented section follows. Several minutes of quiet foreboding occur from this point, with themes from earlier movements, particularly the first. Woodwinds build on one of these until violins take over with another familiar theme that builds to the ferocious climax.
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Hughes, p. 45 In Keck's view, "Offenbach's orchestral scoring is full of details, elaborate counter-voices, minute interactions coloured by interjections of the woodwinds or brass, all of which establish a dialogue with the voices. His refinement of design equals that of Mozart or Rossini."Keck, Jean-Christophe. "The need for an authentic Offenbach" , Offenbach Edition, Keck, Boosey and Hawkes, accessed 16 July 2011 ;Compositional method Offenbach often composed amidst noise and distractions.
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EMU Marching Band The Eastern Michigan University Marching Band, nicknamed "The Pride of the Peninsula," was first formed in 1894. The Eastern Michigan University Basketball Band is directed by the two graduate assistants of the band. Unlike the marching band which is made up of all brass and woodwinds, the Basketball Band's instrumentation is strictly "Brass and Sax." The Basketball Band travels with the basketball teams during the MAC tournament or the NCAA tournament.
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After the opening, Short Piece settles down into a long, lyrical passage introduced by the woodwinds and expanded upon by the strings. In 1960, the Manhattan Percussion Ensemble recorded Perry's Homunculus, C.F. for 10 percussionists. The piece is scored for timpani, cymbals, snare drum, bass drum, wood blocks, xylophone, vibraphone, celesta, piano, and harp. Perry termed the work "pantonal" since is it neither in a major or minor key and it uses all available tones.
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He began as a "trap" drummer in the pit of his father's movie house. Runyon would play percussion and supply sound effects for the silent films. He also learned to play the marimba and the vibes and eventually found the instruments that would be the passion of his life: the woodwinds. Runyon studied music at Oklahoma A&M; and the University of MissouriRunyon Products web site before hitting the road as a traveling musician.
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The four sections of the symphony proceed without pause. In the Introduction (tempo marking: Lento), the main theme appears in the basses answered by the trumpets and taken up in the first violins and woodwinds. The first movement begins with this theme in the violins and is taken up in the basses and gradually works up to a climax. As it dies away a hymn-like theme appears in the muted strings.
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The modern Chinese orchestra typically consists of four main sections. These instruments are generally grouped according to the way they are played - the bowed strings (inclusive of the Western bass section), plucked strings, woodwinds and percussion. Many of the Chinese instruments are modified versions of traditional instruments, for example, the diyinsheng (large bass sheng), and the zhongyin (alto) suona, which is fitted with keys. These modifications are based on their Western counterparts.
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The marching band is by far the largest musical group at Jamestown. The instrumentation consists of woodwinds, brass, a drum line and a pit (usually keyboard instruments and axillary instruments). There is also a color guard that twirls colorful flags, dance, and use other visuals as the school board does not allow the use of rifles or sabers in performances. The band uses a technique very similar to modern style drum and bugle corps.
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Then comes Lesghinka, a manic song that becomes rambunctious near the end. And the final sketch is the Georgian March, a very lively song which sounds like a military march and makes much use of the woodwinds and chimes. Suite No. 2 is also called Iveria (Iberia), the name given by the Greeks and Romans to the ancient kingdom of Kartli, corresponding roughly to the eastern and southern parts of the country of Georgia today.
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The first movement (In Viaggio) opens with the pianist playing soft, rippling figurations, accompanied by fragmentary calls by woodwinds. The strings then introduce a passionate theme, but the piano soon takes over the theme, which rises higher and higher. The passionate strings re-enter, with rhythmic interjections from brass and percussion, and the music rises to a climax. The piano lunges into the lowest registers, linking into the slow movement (Sognando e libero).
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Masterok (also spelled "Masterock") is a children's music band from Dnipropetrovsk, Ukraine. Founded in 1975 by composer, arranger, musician Mikhail Nekrich, the band had numerous members (age 5-14) who contributed their young talents towards its success. Masterok had countless TV and live appearances all over the world, as well as 5 vinyl LP records and 4 CD albums releases. The band always featured strong vocals, keyboards, guitars, woodwinds, bass, drums & percussion.
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The theme is assigned to trombones playing in unison, and is accompanied by a combination of string patterns. Meanwhile, another pattern alternates with chromatic scales in the woodwinds and a third pattern of rhythms is played by percussion.Abraham, New Grove (1980), 16:32–33. Rimsky-Korsakov's non-program music, though well- crafted, does not rise to the same level of inspiration as his programmatic works; he needed fantasy to bring out the best in him.
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Higgins has recorded or performed with Barbra Streisand, Tony Bennett, Mel Tormé, Natalie Cole, Rosemary Clooney, Sting, Kenny G., Arturo Sandoval, Michael Buble, Michael Feinstein, the Temptations, Diana Ross, Manhattan Transfer, Stevie Wonder, Johnny Cash, and Avenged Sevenfold. Higgins has been teaching saxophone at Azusa Pacific University since 2002. He directs the Azusa Pacific Jazz Ensemble No. 2 and teaches a course in woodwind techniques. He owns and manages his own store, Long Beach Woodwinds.
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The title of the autograph score reads: "Dom: 17 post Trin: / Ach lieben Xsten seyd getrost / a 4 Voc: / Corno / 2 Hautbois / 2 Violini / Viola / con / Continuo / di / Sign:JS:Bach". In the following table of the movements, the keys and time signatures are taken from the Bach scholar Alfred Dürr, using the symbol for common time (4/4). The instruments are shown separately for brass, woodwinds and strings, while the continuo, playing throughout, is not shown.
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Yamaha Music London is an English musical instrument and sheet music retail store owned and operated by Yamaha Music Europe GmbH's UK branch. It is located on Soho's Wardour Street and the majority of the building has Grade II Listed status. Musical instruments offered include pianos (acoustic and electric), guitars (acoustic, electric, basses), drums & percussion, brass (horns, cornets, trombones, trumpets, tubas), woodwinds (oboes, bassoons, clarinets, flutes, saxophones), bowed (cellos, violas, violins), and accessories.
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The first movement is in sonata form, beginning with an introduction and ending with a Coda. The introduction, exposition, development, recapitulation, and Coda are clearly distinguished by different tempo markings and time signatures. Though the movement begins and ends in C major the tonal center is ambiguous as it is constantly shifting. The opening of the movement begins with a slow, newly composed introduction, a warm melody played by the woodwinds (ex.1).
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There is also have bands and choirs. They have a high school concert band that consists of woodwinds, brass, and percussion, a high school marching band that performs at Friday night football games, a pep band that performs during halftime at home basketball games and a jazz band. In the case of chorus, they have a high school concert choir and a chamber choir. Two publications are produced: the Riders Times newspaper and the yearbook.
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Faculty of Music at the University of Toronto offers a Master of Music in Composition, Music Technology and Digital Media, Instrumental (solo piano, woodwinds, brass, percussion, strings), Collaborative Piano, Conducting, Jazz Performance, Opera, Piano Pedagogy, Voice, and Vocal Pedagogy. The first program for the degree was introduced in 1954. The Master of Music (M.M. or M.Mus.) is, as an academic title, the first graduate degree in Music awarded by universities and conservatories.
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Some but not all Russian marches then were made in Germany and other locations as the rest were locally composed military marches. They would usually have a conductor, and a drum major using his mace with/or a bugle major playing the chromatic fanfare trumpet. Brass instruments formed the first tier of the formation followed by the percussion and the woodwinds. Mounted cavalry bands were similar to German ones but were different in many aspects.
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In both instances, the position of the tongue in the mouth plays a vital role in focusing and accelerating the air stream blown by the player. This results in a more mature and full sound, rich in overtones. The double reed woodwinds, the oboe and bassoon, have no mouthpiece. Instead the reed is two pieces of cane extending from a metal tube (oboe – staple) or placed on a bocal (bassoon, English horn).
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Most of Lento is scored for strings alone, and although there's a central section scored for woodwinds, instruments other than strings are generally used to highlight various aspects of the music. The piece comprises 166 bars, but the single orchestral tutti occupies only eight. Timpani are used only twice, both times to produce a G trill. Like much of Skempton's work, Lento uses precomposed chance arranged sequences of chords as the basic harmonic material.
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The piccolos and flutes join in, playing the second part of the theme, and then the brass enter playing the first part. This section is in 3/4 and is a hemiola; the brass play as if each measure were divided into two beats, while the woodwinds play three beats to a measure. For this reason, it is often conducted in one (i.e., the conductor only conducts the downbeat of each measure).
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For the premiere, Dudamel's group, which was at the front of the stage, consisted of the orchestra's string section with one percussionist; Mehta and Salonen's groups, at the back of the stage, were each made up of a mix of woodwinds, brass, and percussion. At the end of the piece, musicians walk down the aisles playing crotales. At the premiere, this role was given to Youth Orchestra Los Angeles teachers and students.
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The Vienna Philharmonic's strings were "very rich, smooth and beautiful", but its woodwinds were too anodyne to satisfactorily express the commentary on the drama that Mozart had written for them. As for Herbert von Karajan's conducting of his "elusive, indeed indistinct" interpretation, there was little to be said in its favour. It was true that his recitativo secco was unusually imaginative in its abrupt variations of pacing and dynamics. But otherwise his influence was unhappy.
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Shelton performing with the Ton Trio at the 20th Olympia Experimental Music Festival, 2014 Aram Shelton is an American composer, improviser and musician (primarily an alto saxophonist, but also playing other single-reed woodwinds),Aram Shelton, Bay Improviser based in Oakland, California. His music has been compared to that of Eric Dolphy,George Grella, Smart, with a gripping amount of fire burning under the surface , wonderingsound.com 2011-12-21. Accessed online 2014-07-09.
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Cantus Arcticus, Op. 61, is a 1972 orchestral composition by the Finnish composer Einojuhani Rautavaara. It is one of his best-known works. Subtitled Concerto for Birds and Orchestra, it incorporates tape recordings of birdsong recorded near the Arctic Circle, and on the bogs of Liminka, in northern Finland. The work is in three movements: The bog opens with a flute duet, after which the other woodwinds join in, followed by the birds.
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He has been friends with Arancia since childhood, and never seems to give up even if he loses. He is infatuated with Candy Mintblue, and his magic make Gummi Worms appear in MP recovery jars. ; :Arancia is a gifted musician who can play a multitude of musical instruments, including the piano, harp, strings, percussion, and woodwinds. Her natural talent comes from her musical family, and she can master any instrument almost instantly.
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A double bass may be added, particularly when accompanying a lower-pitched solo voice (e.g., a bass singer). In larger orchestral works, typically performers match the instrument families used in the full ensemble: including bassoon when the work includes oboes or other woodwinds, but restricting it to cello and/or double bass if only strings are involved, although occasionally individual movements of suites deviate from this at the musical director's discretion (e.g. bassoon without oboes).
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The symphony is in four movements: The first movement is in sonata form and opens with the main theme played in unison strings. The second theme is also presented by the strings, with woodwinds in the background. The development section is contrapuntal in nature, reminiscent of the fugues Kalinnikov composed in the 1880s. The second movement opens with an ostinato of the harp and first violins that leads into a solo for the cor anglais.
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Then the movement's main theme is played by the oboe to pizzicato strings. The third movement, a scherzo, contains Russian folk-music influences and melodies and includes a trio played in the woodwinds. The Finale opens with the first movement's main theme before revisiting and transforming themes from all previous movements as well as incorporating new themes derived from old ones. The symphony concludes with a triumphal ending played by the full orchestra.
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The Junior Strings added woodwinds, brass and percussion and became the Eugene Junior Orchestra. EYSA became the Arts Umbrella in 1994, broadening its scope to include dance and drama classes. In 1995, David Chinburg became conductor of the Junior Orchestra, and the organization also sponsored a Cadet Orchestra (now called the Little Symphony), led by Forrest Moyer. A fourth orchestra, Encore Strings, was added to the existing program, later becoming String Academy 2.
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Rather it is a type of concerto grosso (or "concerto a due cori", concerto for two choirs), the strings interacting with a concertino of the woodwinds, oboes and bassoon. The two groups first introduce their own lively themes, which are distinct but related to each other. Then they also exchange their themes and play together. The middle section begins with a surprising new motif for oboe and bassoon, which Bach himself marked "cantabile".
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She previously spent several years programming and serving as Board member of wik. Ng joined the Guelph Jazz Festival in 2018 Assistant Artistic and General Director. In addition to performance and programming work, Ng teaches music privately and at the Regent Park School of Music, a non-profit community initiatives in the Regent Park neighbourhood of Toronto. She formerly worked for several years as a woodwinds instructor the Long & McQuade Music Lesson Centre.
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The bassoon is part of the standard wind quintet instrumentation, along with the flute, oboe, clarinet, and horn; it is also frequently combined in various ways with other woodwinds. Richard Strauss's "Duet-Concertino" pairs it with the clarinet as concertante instruments, with string orchestra in support. An ensemble known as the "reed quintet" also makes use of the bassoon. A reed quintet is made up of an oboe, clarinet, saxophone, bass clarinet, and bassoon.
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Water keys are made in various designs. All have the same purpose, to empty the condensation liquid from an instrument without having to rotate the instrument or pull out the slides. The traditional design features a simple lever key as found on woodwinds, but with a cork rather than a pad in the cup. A spring holds the cork against a raised hollow cylinder mounted on the slide or loop during play.
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Masters and Doctoral degrees are awarded in collaboration with the University of Missouri Graduate School. The Master of Music degree is divided into fifteen different focus areas: Brass, Choral Conducting, Collaborative Piano, Composition, Jazz Performance and Pedagogy, Music Education, Music Theory, Orchestral Conducting, Percussion, Piano Pedagogy, Piano Performance, Strings, Voice, Wind Conducting, and Woodwinds. A Master of Arts degree is offered in musicology. A PhD degree in Music Education is also offered.
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The Louisville Academy of Music is a non-profit community music school in Louisville, Kentucky in the Crescent Hill neighborhood. Founded in 1954 by Robert French and Donald Murray, the academy has given over a million music lessons. It originally operated from three rented rooms in Highlands area of Louisville and moved to its current location in 1971. The academy currently offers lessons in piano, strings, voice, woodwinds, brass, guitar, and percussion for students of all ages.
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Pasquale was born on April 7, 1941 in Chicago to Hugo and Lucille (née Ciccone) Di Pasquale, James Di Pasquale is a graduate of St. Mel's High School in Chicago. He graduated from Northwestern University and the Manhattan School of Music. His teachers included David Diamond and Ludmila Uhlela. Before turning full-time to composition, he had a varied career as a woodwinds performer with the Chicago Symphony Orchestra, the Bolshoi Ballet, and the Royal Ballet.
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The group was founded in 1999 by composer, producer, and oud player Yuval Ron. The ensemble includes musicians of all three major Abrahamic faiths: Jewish, Muslim, and Christian. The group’s members are: Najwa Gibran (vocals), Maya Haddi (vocals), Sukhawat Ali Khan (Qawwali vocals and harmonium), Norik Manoukian (duduk and woodwinds), Virginie Alumyan (kanoun), Jamie Papish (percussion), and David Martinelli (percussion). Ensemble performances often include a visual component as well, with sufi whirling dervish Aziz or devotional dancer Maya Gabay.
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In 1996, Ryan recorded his first solo album, Real World, with jazz artists from Chicago and members of the Chicago Symphony Orchestra. Cohan's second album, Here and Now, was released in 2001 on Sirocco Music. For this album, Cohan formed the Ryan Cohan Sextet, which featured Bob Sheppard and Geof Bradfield on woodwinds, James Cammack and Lorin Cohen on bass, Tito Carrillo on trumpet, and Dana Hall on drums. In 2007, One Sky was released on Motéma.
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Later, he developed a marked propensity for quotations from earlier music. Particularly striking examples include Heinrich Isaac's "Innsbruck, ich muss dich lassen" in the Concerto da camera, a theme from Bach’s Musical Offering in the Ricercari for organ, as well as in the Kontrapunkte 77 for three woodwinds, and Schumann themes in Sentimento del tempo and, especially, in Musik mit Robert Schumann . Other composers whose works Baur has quoted include Dvořák, Strauss, Gesualdo, Mozart and Schubert .
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There he met other musicians to form a band and perform his older miRthkon compositions, as well as collaborate on new ones. After starting with more standard rock instrumentation the ensemble evolved to include two guitars, two woodwinds, bass and drums. From this point forward the lineup has maintained this exact instrumentation, with a few changes in the line-up. With Jarred McAdams, miRthkon then added a seventh member, providing video for live performances and general conceptual design.
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He recorded with the Dave Pell Octet in the mid-1950s. During this time he attended Los Angeles State College of Applied Arts and Sciences studying music and woodwinds. In 1958 he became a prolific studio musician in Los Angeles, often employed by Henry Mancini, and he played the iconic sax melodic line in Bernard Herrmann's score for the movie Taxi Driver (1976). Lang also recorded with Pete Rugolo (1956), Bob Thiele (1975), and Peggy Lee (1975).
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The C-naturals come as a surprise to the listener: the note does not appear at all in the exposition. The rest of the development consists mainly of sustained notes for the woodwinds and opening descending pairs of notes in three-part counterpoint in the strings. In the recapitulation, the second half of the first theme group is heard in canon. The second movement is a double variation canon in the form ABA1B1A2, beginning and ending in the minor.
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In his review for AllMusic, Scott Yanow states "The challenging repertoire falls between advanced hard bop and the avant-garde, consistently inspiring the talented players to play at their most creative. Recommended". There is a consensus among many collectors that the Black Lion CD edition, which includes one bonus track and an alternate take of the title track, was very poorly mastered (with reduced volume in the right channel, resulting in the virtual inaudibility of Tyrone Washington's woodwinds).
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He remained the artistic director of the Red Army Ensemble for 18 years until his son, B.A. Aleksandrov took his place in 1946. Surprisingly, the Red Army Ensemble has a mixed composition of Russian traditional instruments and western instruments. Even though Western culture was often viewed in a negative light during the Cold War, they still continued to include western instruments. Some examples include the balalaika, the domra, the bayan, the double bass, woodwinds, brass, and percussion instruments.
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This movement features the baritone soloist, and is introduced by quiet and atmospheric woodwinds. Its text is "The Oxen" by Thomas Hardy: > :Christmas Eve, and twelve of the clock. :"Now they are all on their knees," > :An elder said as we sat in a flock :By the embers in hearthside ease. :We > pictured the meek mild creatures where :They dwelt in their strawy pen, :Nor > did it occur to one of us there :To doubt they were kneeling then.
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Movement 3, again subtitled “Joyeux,” is a mixed-meter movement, defined by the constant repetition (ostinato) of the flute’s simple four measure phrase. The woodwinds’ playfully articulated polytonal melodies are supported by rhythmically-driven string parts, both based on duple subdivisions. Woodwind melodies are individually pleasant-sounding, but they do not match up harmonically. Throughout the movement, the melody alternates between instruments, most notably in the violin’s birdcall phrases, which define the contours of the movement.
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2018 Gerd Schaller has prepared an orchestral version of Bruckner's string quintet, the first for full orchestra. The original chamber polyphony of the five solo string players is retained in his strategy of arrangement, but at the same time much symphonic material is incorporated. It's a Classical-Romantic arrangement with doubled woodwinds, four horns, two trumpets, three trombones and timpani to preserve the structures of the original composition and at the same time reinforce the symphonic content.
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The Music Division is the largest of the school's divisions. Available degrees are Bachelor of Music or Diploma, Master of Music or Graduate Diploma, Artist Diploma and Doctor of Musical Arts. Academic majors are brass, collaborative piano, composition, guitar, harp, historical performance, jazz studies, orchestral conducting, organ, percussion, piano, strings, voice, and woodwinds. The collaborative piano, historical performance, and orchestral conducting programs are solely at the graduate level; the opera studies and music performance subprograms only offer Artist Diplomas.
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Miller was born in Olathe, Kansas, moved with his family to Los Angeles two years later, and eventually settled in Long Beach, California. His father was also a musician who featured with organist Paul Bryant. Charles was always interested in music, which included his playing of woodwinds, piano, and guitar, as well as within school bands and school orchestras. In 1967, Charles's interest in music was supplanted until, when at Long Beach City College, he sustained a football injury.
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The centerpiece of The Minstrels was the Withrow Presentation Orchestra, a 60 piece, Paul Whiteman style (American Musicians II, pp 497–8) big band consisting of brass, woodwinds, strings, and percussion (drums, tympani, chimes, vibraphone). The orchestra performed renditions of Tin Pan Alley and other music to accompany students' vocal and dance performances. Staging featured sophisticated lighting and special effects. (Cincinnati Post, 7/17/85). Sets and lighting were constructed by students (Cincinnati Post, 7/17/85).
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During preproduction, multi-instrumentalist Jeff Dellisanti announced he would leave the band to retire from touring. He did stay on as a studio musician to add tin whistle, woodwinds, and keyboards to the tracks for the new album, which became Absolutely. Absolutely, produced by John Wooler and engineered by Sally Browder, had a generally newer sound for the Young Dubliners. The production was sparser, influenced by the wave of new garage rock bands like the Strokes.
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The Sonate pour flûte et piano (Flute Sonata), FP 164, by Francis Poulenc, is a three-movement work for flute and piano, written in 1957. The sonata was commissioned by the American Library of Congress and is dedicated to the memory of Elizabeth Sprague Coolidge, an American patron of chamber music. Poulenc preferred composing for woodwinds above strings. He premiered the piece with the flautist Jean-Pierre Rampal in June 1957 at the Strasbourg Music Festival.
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Sousa often used clarinets and euphoniums in lower tenor register in his trios. This trio strain is the most contrasting of the sections, often containing variations of motifs heard in the previous two strains. The trio melody may be repeated once at a softer dynamic, or may not be repeated at all. Typically, it is played quietly for the first or second playthrough, then features piccolos (or flutes, or other woodwinds) playing over the trio melody.
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The Oslo Philharmonic (Oslo-Filharmonien) is a Norwegian symphony orchestra based in Oslo, Norway. The orchestra was founded in 1919, and has since 1977 had its home in the Oslo Concert Hall. The orchestra consists of 69 musicians in the string section, 16 in the woodwinds, 15 in brass, 5 in percussionists, 1 harpist, and 1 pianist. The orchestra gives an average of sixty to seventy symphonic concerts annually, the majority of which are broadcast nationally on the radio.
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InterHarmony has programs in orchestral instruments (including strings, woodwinds, brass, and percussion), piano, and voice. In 2014, InterHarmony opened an opera program with orchestra in its location in Sulzbach-Rosenberg. The InterHarmony International Music Festival has gained renown in Germany and the U.S. Consulate General spoke at the final concert where Quint performed in 2008. Quint performed with Caitlin Hulcup, mezzo-soprano from the Vienna State Opera, and Christa Mayer, mezzo-soprano from the Bayreuther Festspiele in 2010.
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Eventually the celebrations subside, and the Maylord then offers a final blessing with the proclamation: "And so, my friends, I cease." The large orchestra includes triple woodwinds, two harps, and a large percussion section. Each song has its distinctive scoring, ranging from just first and second violins accompanying the tenor (Waters Above!) to full orchestra in the first and last songs. The last movement adds the call of a cow-horn, specifying a G, C, and F.
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9 Six of the channels recorded different sections of the orchestra which provided a "close-up" of the instruments – cellos and basses, violins, violas, brass, woodwinds and tympani – while the seventh channel recorded a mixture of the first six and the eighth captured the overall sound of the orchestra at a distance. A ninth channel provided the click-track function to help the animators time their drawings to the music.Shepherd, pp. 3–6.Plumb (1942), p.
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Rich and Famous was first produced by William Gardner at the Academy Festival Theatre, in Lake Forest, Illinois, in August 1974. It was directed by Mel Shapiro and starred Charles Kimbrough, Linda Lavin, and Ron Leibman. Guare wrote the music for the play, which was performed by a small band consisting of Bass, Sax, and Woodwinds. Rich and Famous premiered Off-Broadway at The Public Theater New York Shakespeare Festival on January 13, 1976 Guare, John.
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The cello begins playing a new theme that uses exactly the same notes as the DSCH motif. The modified version that was just played by bass instruments is repeated by the solo cello, accompanied by oboes playing fragments of the new DSCH theme. The first theme of this movement is played by the string section after, followed by the new DSCH theme in the woodwinds. The DSCH theme of the first movement is played, answered by the cello.
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In the 2016-2017, season the total number of concerts was151, a record for the ZKO. The core of the ZKO consists of 28 permanent members (string players, flute, oboe, horn, harpsichord), with other sections (woodwinds, strings, brass, harp and percussion) used as needed. Edmond de Stoutz founded the ZKO in the aftermath of World War II, and led its first concerts in 1945. He served as artistic leader and principal conductor of the ZKO until 1996.
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In 1976 Macchia attended Berklee College of Music where he studied woodwinds with Joe Viola, Joseph Allard, and Steve Grossman. His composition and arranging teachers included Herb Pomeroy, Phil Wilson, Tony Texiera, Ken Pullig, and Greg Hopkins. In 1979 Macchia received Down Beat magazine’s DB award (second place) for best original big band composition. In 1980 he was awarded a grant from the National Endowment for the Arts to compose a jazz/classical suite for large ensemble.
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Kamen was dismissive of film scores, believing they could not stand alone from the film. Even so, he admitted there were tracks from his Die Hard score that he liked. His original score incorporates pizzicato and arco strings, brass, woodwinds and sleigh bells added during moments of menace to counter their festive meaning. There are other classical diegetic songs in the film; the musicians at the party play Brandenburg Concerto No. 3 by Johann Sebastian Bach.
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Ron Korb ( or phonetically translated to ""), born in Toronto, Canada, is the first renowned western musician playing dizi along with numerous other world woodwinds. He graduated from the Faculty of Music at the University of Toronto with an honors degree in performance. On many of his recordings, he uses the dizi as the lead instrument. He has also used dizi in the film soundtracks of The White Countess, Relic Hunter, China Rises, and Long Life, Happiness, & Prosperity.
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His teachers included Canadian flautist Robert Aitken, American flautist Samuel Baron, and Cuban charanga legend Richard Egues. McBirnie has recorded several albums under his own name. He has also recorded extensively as a sideman, including with Junior Mance, Irakere, Four80East, Memo Acevedo, and Emilie-Claire Barlow. He has been a longstanding contributor to the Woodwinds Column of the Canadian Musician magazine, and was recruited personally by Sir James Galway to serve as his resident Jazz Flute Specialist.
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Todeswunch was a major departure from Sopor Aeternus' first album, ...Ich töte mich..., in that the aggressive synthesized music of the first record was replaced with ornate Renaissance- and Baroque-inspired folk music. brass, woodwinds and acoustic guitars came to the fore, while drum machines were largely abandoned for varying amounts of hand percussion. Shrill female vocals also resound throughout the album, all of them provided by Anna- Varney Cantodea herself. The album quotes heavily from other works.
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During his tenure with the orchestra, Gigliotti was a founding member of the Philadelphia Woodwind Quintet, and appeared on a television program called "200 Years of Woodwinds", performing with the quintet and interviewing guests such as Samuel Barber and Marcel Tabuteau. Maintaining a heavy teaching and recording schedule upon his 1996 retirement, Gigliotti died on December 3, 2001 at a hospital in Camden, New Jersey. Since 1982, his son Mark has been a bassoonist in the Philadelphia Orchestra.
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Events and changes in society such as ideas, attitudes, discoveries, inventions, and historical events often affect music. For example, the Industrial Revolution was in full effect by the late 18th century and early 19th century. This event had a profound effect on music: there were major improvements in the mechanical valves and keys that most woodwinds and brass instruments depend on. The new and innovative instruments could be played with greater ease and they were more reliable .
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The ensemble has recorded various unedited or scarcely known works from Latin- American musical archives, such as Bogotá, Mexico, Guatemala, Lima and Chiquitos (Bolivia). The group is also known for bringing to light unedited pieces by major 17th-century Spanish composers such as Sebastián Durón, Juan de Navas and José Marín. Current members of the group are: Jairo Serrano (voice, percussion), Carlos Serrano (early woodwinds), and Julián Navarro (vihuela de mano, baroque guitar, theorbo), as well as guest musicians.
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Held every four years, the first competition, in 1958, included two disciplines – piano and violin. Beginning with the second competition, in 1962, a cello category was added, and the vocal division was introduced during the third competition in 1966. In 1990, a fifth discipline was announced for the IX International Tchaikovsky Competition – a contest for violin makers which traditionally comes before the main competition. In 2019, two new categories were added to the competition, woodwinds and brass.
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In 1924, according to Variety, there were more than 900 dance bands, representing steady work for 7,200 musicians. There were 68 Whiteman orchestras across the country, playing music from the Whiteman library, eleven in New York alone. In the mid-20s, bands typically had ten musicians: two altos, one tenor (who often doubled on other woodwinds and sometimes violin), two trumpets, trombone, banjo or guitar, piano, string bass or brass bass, and drums. Sometimes there were two trombones.
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As a discipline, Ching tried to restrict his compositional interventions to the tonal and rhythmic limits of Mozart's already highly chromatic and dissonant language, so that the distinction between "text" and "commentary" is eventually blurred. The movement ends when the minuet is interrupted by the ostinato march rhythm on Eb-A in the piano's lowest octaves, which accompanies the procession onstage of the string trio, percussionist, and the two woodwinds, and continues throughout the following movement.
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The music of the Monkey Island series is Caribbean in style, tunes performed on light woodwinds and marimbas. On the other hand, his soundtrack for The Dig is cinematic, with dark, brooding themes played out slowly. Land himself cites The Dig score as the work that comes closest to his own personal style. Another trait Land has in common with other video game composers is his ability to compose music that remains listenable when played on a continuous loop.
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The Karamazovs incorporate music into their performances through the use of special clubs adapted as percussion strikers, allowing them to play drums and marimbaphones without breaking their juggling patterns. Most past and present Karamazovs are adept with a great range of conventional instruments, including brasses and woodwinds. One of their most widely known musical performances is Rockpalast Night 8, held in Essen, Germany, on March 28, 1981. The main acts were The Who and the Grateful Dead.
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Don Juan is scored for an orchestra with the following instruments: ;Woodwinds :3 flutes (3rd doubling piccolo) :2 oboes :1 English horn :2 clarinets in A :2 bassoons :1 contrabassoon ;Brass :4 horns in E :3 trumpets in E :3 trombones :1 tuba ;Percussion :timpani :triangle :cymbals :glockenspiel ;Strings :harp :violins I, II :violas :celli :double basses An orchestral score and a score for piano four hands was published by J. Aibl in Leipzig in 1890.
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Fayette Christian School offers a variety of sports for junior and senior high students including, volleyball, soccer, and basketball, It also offers elementary soccer each fall and elementary basketball in the winter. The Drama department at FCS presents a play each spring as well as programs in December and May put on by the Kindergarten class, Elementary School and High School. The Music department offers choir as well as orchestra including brass, woodwinds, percussion and stringed instruments.
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The School of Music presentations may include concerts by the UNCSA orchestra or by UNCSA ensembles for jazz, ragtime, percussion, woodwinds or brass. The School of Dance presents a program of classical and contemporary dance often featuring new and juried works by UNCSA alumni. The School of Filmmaking presents films on Saturday nights selected for a family audience. All shows are designed and produced by the faculty and students from UNCSA's School of Design and Production.
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Henry Falcon Cuesta, Sr. (December 23, 1931 - December 17, 2003), was an American woodwind musician who was a cast member of The Lawrence Welk Show. His primary instrument was the clarinet, but he also played saxophone. At an early age, Cuesta began studying classical violin and then switched to woodwinds. He proved himself gifted and was selected to play while he was still in high school with the Corpus Christi Symphony Orchestra in Corpus Christi, Texas.
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The oboe da caccia has a leather-covered wooden body terminating in a large wooden bell, or in the case of Eichentopf's instruments, a flaring brass bell as pictured above. There are typically two brass keys, E-flat and C. The E-flat key is normally doubled for the left hand. There are usually two twin fingerholes, G/A-flat and F/F#, similar to the soprano baroque oboe. The construction differs from that of practically all other woodwinds.
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Texas A&M;'s "aTm" formation during halftime Military bands or corps of drums were historically the first marching bands. Instrumentation in these bands varies but generally consists of brass, woodwinds, and percussion. Due to their original purpose, military marching bands typically march in a forward direction with consistent straight lines. Music is performed at a constant tempo (120–140 BPM) to facilitate the steady marching of the entire military group the band is playing with.
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The glowing body of the Mandarin is represented by the entry of a chorus singing wordlessly, once again in the interval of a minor third. The climax, after the girl embraces the Mandarin, is a theme given out fortissimo by the low brass against minor-second tremolos in the woodwinds. As the Mandarin begins to bleed, the downward minor-third glissando heard at his entry is echoed in the trombone, contrabassoon and low strings. The work then stutters arhythmically to a close.
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Having left Lincoln for personal reasons in 1998, he was contacted by John Flansburgh, who offered him a spot as lead guitarist for They Might Be Giants' Fall 1998 tour. He has also toured with John Flansburgh as Mono Puff's guitarist in the late 1990s, and played on bandmate John Linnell's State Songs tour. Miller is known to sing backup and some lead during live performances of songs. He also occasionally plays keyboards when Linnell is playing accordion or woodwinds.
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Revueltas first composed Sensemayá in Mexico City in 1937, in a version for small orchestra. In 1938, he expanded it into a full-scale orchestral work for 27 wind instruments (woodwinds and brass), 14 percussion instruments, and strings. As one advertising blurb for the score describes it: > The work begins with a slow trill in the bass clarinet as the percussion > plays the sinuous, syncopated rhythm that drives the work. Soon a solo > bassoon enters playing an eerie but rhythmic ostinato bassline.
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In measure 274 (letter G), the key returns to E major. The texture also changes as the melody fades away and the strings begin a long rising tremolo figure as related to the woodwinds' sixteenth-note pattern of the second theme. In some ways this key change acts as a transition back to the main Scherzo section. Stedman adds to Abraham's analysis by explaining that this return to the Scherzo acts as a recapitulation to the overall sonata form structure.
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Articulation is also an important consideration when playing trombone: imprecise articulation may add unwanted glissandi to a note not requiring it. Imprecise articulation often ends up as poor intonation and tone. Woodwinds are manufactured with holes that must be covered or uncovered to shorten or lengthen the bore to change pitch, and (except for flute) require register keys to change octaves. Most woodwind instruments comply to a regular harmonic series of pitches and require one register key to change octaves.
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The World of Musical Comedy, Da Capo Press. , p. 445 Ethan Mordden wrote that the song "Adventure" is "one of the grandest comedy songs ever.... Here we learn that she, at least, already knows that it's a wonderful marriage, because it's never boring ... then came a Mad Scene - a bolero complete with trumpets pealing out like the band in the Plaza del Toro on corrida day and woodwinds tripping up the scale with the flash of a hundred capes."Mordden, p.
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The Disney Song Encyclopedia author Thomas S. Hischak described Menken's melody as "flowing", while BuzzFeed's Aylin Zafar wrote that the song is "Tender and warm". Writing for the Chicago Tribune, Gene Siskel described Lansbury's voice, which spans two octaves from F3 to B♭5, as "richly textured". Meanwhile, Michael Cheang of The Star and Bill Gibron of PopMatters wrote that Lansbury performed using a "fragile" "calm, motherly" tone. Instrumentally, "Beauty and the Beast" features several chord changes, woodwinds, and violins.
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The third movement (15–20 minutes) is structured much like the second, with a slow initial theme, a faster middle section that evokes the first movement, and a recapitulation of the initial theme. Shostakovich stated elsewhere that he had hoped to portray Leningrad by twilight, its streets and the embankments of the Neva River suspended in stillness. Woodwinds begin with slow, sustained notes, accentuated by the horns. This simple theme cadences, and is followed by a declamatory theme played by violins.
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Karl-Hermann Lüer (5 January 1933 – 2014) was a German saxophone and flute player. Born and raised just south of the German/Danish border, he first took up violin before moving on to clarinet and other woodwinds. During a holiday to Switzerland, he bought a recorder, which led him to his favourite instrument, the flute. He became active in the Hamburg music scene after moving there in 1961, finding work as a freelance session player with artists like Bert Kaempfert.
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Afterward the strings commence a momentary moment of fluidity before they are interrupted by a wailing trombone which gives the impression of a Russian circus. A march rhythm accompanies this action, trumpets buzzing almost disconcertedly. The flutes return with the second theme, before the trombones recapitulate the opening material, creating an almost competitive environment in which various sections of the orchestra struggle for supremacy. In a brief return to lyricism, the strings play a shiny passage with some playful woodwinds beneath.
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After the Beau Brummels released Bradley's Barn in 1968, singer Sal Valentino joined another band, Stoneground, leaving Ron Elliott on his own for the first time as a Warner Bros. recording artist. Elliott assembled a team of West Coast musicians including Chris Ethridge (bass), Bud Shank (woodwinds), Leon Russell (brass arrangements), Ry Cooder (guitar), Lyle Ritz (bass), Paul Humphrey (drums) and Dennis Dragon (drums) and recorded The Candlestickmaker, Eliott's lone solo album. Valentino also participated, playing tambourine on some of the tracks.
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Landscape comprised Richard James Burgess (vocals, drums), Christopher Heaton (keyboards), Andy Pask (bass), Peter Thoms (trombone, keyboards), and John Walters (keyboards, woodwinds). The band built a following through live performances and touring before releasing their debut album Landscape in 1980. Their next album in 1981, From the Tea-Rooms of Mars...to the Hell-Holes of Uranus led to the Top 5 UK hit "Einstein a Go-Go". Their third album in 1982, Manhattan Boogie-Woogie was well received as a dance album.
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Their second full-length album, Heart of Uncle, was released in 1989 and showed Middle Eastern, Mediterranean, Irish and Latin American influence. Soup of the Century, released in 1990, was their most acclaimed success. With tracks ranging from a Country song in Japanese to a Mexican traditional sung in Hindi, and going through a mix of Irish, Scottish, Greek, Albanian, Klezmer and many more styles, the Mustaphas broke many barriers separating ethnic music styles. Daoudi joined during the recording and performed woodwinds.
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Micky Dolenz provides the vocals, which are distorted by echoing effect, and a mix of organ riffs, cello, string-bass, woodwinds and horns float in and out of the tune. The lyrics call into question the order of the world and one’s place therein, and there are also veiled in-joke references to Dolenz’s childhood work as the star of the television series Circus Boy. The song was produced by its co-writer Gerry Goffin on 26, 28 and 29 February 1968.
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Musicians on the album were Don Van Vliet, vocals, harmonica, and woodwinds; Bill Harkleroad, guitar; Mark Boston, bass; Art Tripp, marimba, drums, and percussion; and John French, drums. French had been arranger and musical director on Trout Mask Replica. Van Vliet ejected French from the group—both figuratively and literally, by allegedly throwing him down a flight of stairs—shortly after Trout Mask Replica was completed, and these roles passed to guitarist Bill Harkleroad. French returned to the group shortly before recording began.
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The Pied Piper of Hamelin was the antagonist of Peter & Max: A Fables Novel. He was the elder brother to Peter Piper, and a sorcerer powerful enough to face Frau Totenkinder. Born in Hesse, the Homeland that mirrors German fables, Max and Peter's family were caught in the middle of a goblin invasion (under the supervision of the then-burgeoning Empire). The Piper family had a tradition of woodwinds performance, and passed down an ancient pipe named Frost from generation to generation.
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The work is scored for the following instrumentation: ;Woodwinds: :5 flutes (5th doubling piccolo) :4 oboes :1 cor anglais :3 bassoons :1 contrabassoon ;Brass: :4 horns in F :1 trumpet in D :4 trumpets in C :3 trombones :1 tuba ;Percussion, harp & keyboards: :timpani :bass drum :harp :2 pianos ;(Lower) strings: :celli :contrabassi ;SATB chorus In the score preface, Stravinsky stated a preference for children's voices for the upper two choral parts. Notably, the score omits clarinets, violins, and violas.
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While Keil's six genres cover the majority of polka performers, other polka bands combine these genres or exist outside of them altogether. Brave Combo is one important modern group that plays a combination of these three genres with a very modern edge. Started in 1979 by Carl Finch, this band is the ultimate in appealing to a wider, younger audience. In addition to accordion, tuba, woodwinds, drum, and trumpet, the instrumentation of the band includes guitar, electric horn, and harmonica.
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The piano starts off solo with a simple melody with accompanying chords in the left hand, and the strings and woodwinds soon join in the peaceful repose. The piano exchanges dialogues with different instruments of the orchestra, but the music soon becomes agitated, leading into a central toccata-like episode, the music sometimes harsh, sometimes soft and bell-like. The agitation soon disperses and the initial tranquility is resumed with a reflective piano solo. Brass interjections, however, confer a sense of insecurity.
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After the third time this is played, the horn plays the theme again in longer notes. Then, the cello plays a passage from the first movement, which is followed by the first theme of this movement played by the woodwinds. This is followed by the first theme of the first movement played by the cellos of the orchestra, accompanied by scales in the solo cello. Then, a modified form of the first theme of this movement is played in the cello.
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However, the composer advises to put the piano near the winds, the marimba near the brass, and the synthesizer near the strings. Thus, three sections have to be well-defined on the stage. It begins with a staccato melodic line by an instrument in the woodwinds, which is later transformed into chords by the strings. Then, the brass take over with a melody which is later transformed into chords, only to introduce a new melody based on the same harmonic structure.
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Indeed, whistling is the most > perfect natural music, Which cannot be imitated by strings or woodwinds. > Thus, the Whistler Uses no instrument to play his music, Nor any material > borrowed from things. He chooses it from the near-at-hand—his own Self, And > with his mind he controls his breath [役心御氣]. (tr. White 1994: 429-430) In this context, Mair (1994: 430) notes that shen 身 "body; person" means "Self" in the sense of Daoist meditation.
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The following coda is indeed an orchestral cadenza featuring solos from the two principal violinists (including Salomon) and solos from the principal winds as well. The trio of the minuet features an extended oboe solo. The finale is a five-part rondo form (ABACA), although it does include some elements of sonata form, implying that it could be a hybrid of both forms. The principal A section is primarily for the strings but are joined by the woodwinds in other areas.
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Melchior Borchgrevinck (ca. 1570 – 20 December 1632) was a Dutch-Danish musician, composer, and court Kapellmeister. He was born to Bonaventura Borchgrevinck, a Dutch-Danish musician and court Kapellmeister. He was one of four children two sisters and a brother Heinrich. On 1 January 1587 Frederick II appointed Dutchman Bonaventura Borchgrevinck as conductor for his musicians and singers, because a large contingent were Dutch nationals. The orchestra was composed of 15 trumpeters, 9 instrumentalists (strings and woodwinds) and 20 singers.
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His output comprises approximately 300 instrumental works that are mostly written for wind instruments. There are a dozen flute concertos (plus two posthumously published works, one of them a flute arrangement of G. B. Viotti's violin concerto No 23), sinfonias for woodwinds, quartets and trios for different ensembles, 12 operas, 5 bassoon concertos, 6 bassoon sonatas and 6 oboe sonatas (Opp. 70 and 71). Devienne's compositions for flute, revived by Jean- Pierre Rampal in the 1960s, became well-known among flautists.
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The cantata is scored for soprano, alto, tenor and bass singers, woodwinds, strings, and continuo. While the earlier composition had also trumpets and timpani in its outer movements, Bach did not copy these parts in his autograph score of the sacred version of the work. Later it was suggested, likely not by the composer, that these parts could be added ad libitum. The 19th-century publication of the cantata by the Bach Gesellschaft (, BGA) included these parts in the printed score.
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Green Echo's sound relies also on the heavy use of effects pedals. This use, namely by creating soundscapes, shows a different approach to the instruments played, being a guitar, for example, not a final instrument, but a mere vehicle to what can be done with effects pedals. Every member of the band uses some kind of effects, especially imposing echos and delays. This can be particularly heard in the self-oscillating delays, and the effects used in the woodwinds played by Adri.
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The first movement begins with an immediate presentation of the opening thematic material, a ten- note statement of the strings in conjunction with powerful timpani strikes. The strings and brass proceed to develop this statement while the soloists provide relatively constant rhythmic undertone. After perhaps two minutes, woodwinds introduce a new, less fierce theme which leads into a slightly varied recapitulation of the first statement. Glass then inserts a characteristic series of chord progressions often present in his mature style.
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Jean-Benjamin de la Borde (1780) classified instruments according to ethnicity, his categories being black, Abyssinian, Chinese, Arabic, Turkisk, and Greek. Instruments can be classified according to the ensemble in which they play, or the role they play in the ensemble. For example, the horn section in popular music typically includes both brass instruments and woodwind instruments. The symphony orchestra typically has the strings in the front, the woodwinds in the middle, and the basses, brass, and percussion in the back.
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"...Ich töte mich..." consists of baroque-tinged neo-medieval music and is heavily punctuated by drum machines and pipe organs. Much of the instrumentation is synthesized due to a low budget; the album features guitar performed by Gerrit Fischer on its final tracks. Sopor Aeternus would not return to prominent synthesizer use until 2004's "La Chambre D'Echo" - Where the dead Birds sing. "...Ich töte mich..." features several elements of the musical project's traditional musicality, including the use of brass and woodwinds throughout.
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Clad in a plain dark dress, the soloist jumps in and out of the driftwood hoop, lifting her skirt and the letting it fall with a nervous plucking motion. Intermittently, she crosses to the railing, leaning forward as if to scan the watery horizon, and then returns to her previous activity. These movements are contrasted with her lunging reclines near the set element resembling a ship. The music, composed for a small orchestra: piano, woodwinds, horn and double bass, enhances the ballet's intimacy.
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Diamante used his music to influence the development team in adapting ideas he had for the game. The music and instruments in each level were chosen to correspond to the game world and the level's placement in the overall emotional arc. The music is composed of multiple layers of acoustic instrument tracks that rise and fall in correlation with the player's actions. The instruments used include pianos, string instruments such as classical guitars, and woodwinds such as bass flutes and bassoons.
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The structure but not the sound of Jewish cantillation influenced the composition, particularly of the flute and piccolo melodies . The work is cast in a single movement about 15 to 18 minutes long, in a quick meter. Its core is a syncopated piano ostinato, superimposed over transposed and shifted versions of itself. The woodwinds and strings play fragmented versions of these figures in unison with the pianos, as well as melodies of their own and slow drones in the background.
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In 2000, Meek played saxophone for "Warning," the sixth studio album by the American punk rock band Green Day. "Warning" reached No. 4 on the U.S. Billboard 200 and was certified gold by the RIAA. In 2003, Meek played woodwinds for the album "Playful Heart" by guitarist and bossa nova pioneer Oscar Castro-Neves. The release, named one of that year's best albums by Downbeat, included an arrangement of "Four Brothers" that Castro-Neves wrote to feature Meek on all the woodwind parts.
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Chronologically, the work is the twentieth of Mozart's 23 original piano concertos. The work is one of only two minor-key piano concertos that Mozart composed, the other being the No. 20 in D minor. None of Mozart's other piano concertos features a larger array of instruments: the work is scored for strings, woodwinds, horns, trumpets and timpani. The first of its three movements, Allegro, is in sonata form and is longer than any opening movement of Mozart's earlier concertos.
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The structure of Op. 3 is somewhat unusual. The six concertos have anything between two and five movements, but only one of them contains the usual four movements. Only occasionally are the instrumental forces set in the traditional concerto grosso manner: a tutti group and a contrasting, soloistic concertino group. However, the concertos are filled with virtuoso solo passages for both the strings and the woodwinds, thus maintaining the form of the concerto grosso despite the lack of traditional contrasting forces.
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The movement ends with the sonorous theme which was first stated by the lower woodwinds at the beginning of the symphony. A typical performance of this movement lasts 16 minutes. The second movement begins with an ostinato on harp and the flutes, which eventually develops into a beautiful melody that forms a basis for the development of the movement. A quotation of Bax's tone poem In Memoriam is used, and motifs are quoted from the opening movement of the symphony.
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In late 1968, Traffic disbanded, with guitarist Dave Mason leaving the group for the second time prior to the completion of the Traffic album. In 1969, Steve Winwood joined the supergroup Blind Faith, while drummer and lyricist Jim Capaldi and woodwinds player Chris Wood turned to session work. Wood and Winwood also joined Blind Faith's drummer Ginger Baker in his post-Blind Faith group Ginger Baker's Air Force for their first album, Ginger Baker's Air Force (1970).Nick Logan and Bob Woffinden, editors.
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In 2000 Rosenthal joined the legendary progressive rock band Happy the Man for their reunion, replacing long-time keyboardist Kit Watkins (who opted not to rejoin the band), and playing alongside original members Stanley Whitaker (guitar), Frank Wyatt (woodwinds, keyboards), and Rick Kennell (bass). To date, he has recorded one album with them in 2004, The Muse Awakens. Live dates with Happy the Man included headlining NEARfest in 2001, ProgDay 2005 in North Carolina, and a live concert broadcast on Sirius XM.
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The first movement, "Circus Games" ("Circenses"), depicts the ancient contests in which gladiators battled to the death, with the sound of trumpet fanfares. Strings and woodwinds suggest the plainchant of the first Christian martyrs which are heard against the snarls of the beasts against which they are pitted. The movement ends with violent orchestral chords, complete with organ pedal, as the martyrs succumb. Next, the Jubilee ("Giubileo"), portrays the every-fiftieth-year festival in the Papal tradition (see Christian Jubilee).
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Blue Lambency Downward is the third studio album by Kayo Dot, released on Hydra Head Records in May 2008. After much of the group left to pursue outside projects, the only members who remained were frontman Toby Driver and violinist and long-time collaborator Mia Matsumiya. The two began recording the album in early 2007 using a revolving door of contributing musicians. The album is heavily influenced by chamber and orchestral music and jazz, and features an abundance of woodwinds.
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Lark (sometimes stylised as LARK) are a South African glitch electronica band from Cape Town. Formed in 2003, the group consists of Inge Beckmann (vocals), Paul Ressel (sequencers and analog systems), Simon "Fuzzy" Ratcliffe (bass guitar and woodwinds), and Sean Ou Tim (drums and percussion). They are often cited as "groundbreaking musicians", who were the key contributors to establishing experimental and intelligent dance music in South Africa. Their name has become synonymous with musical experimentalism, and are one of country's best loved acts.
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Reports about the last-minute completion of the overture conflict; some say it was completed the day before the premiere, some on the very day. More likely it was completed the day before, in light of the fact that Mozart recorded the completion of the opera on 28 October. The score calls for double woodwinds, two horns, two trumpets, three trombones (alto, tenor, bass), timpani, basso continuo for the recitatives, and the usual string section. The composer also specified occasional special musical effects.
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The Extraordinary Rendition Band (ERB) is a protest marching band from Providence, Rhode Island with approximately 30 active members. The band plays original compositions by its members as well as music of New Orleans and arrangements of music ranging from funk to cumbia and metal. The instrumentation of the band varies but includes percussion, brass, woodwinds, and instruments less commonly found in marching bands, such as accordions and washboards. An activist street band, ERB frequently appears at protests in support of human and civil rights.
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In April 1972, Henry Cow wrote and performed the music for Robert Walker's production of Euripides' The Bacchae. This involved an intense and demanding three-week period of concentrated work that changed the band completely. It was during this time that Geoff Leigh on woodwinds joined and Henry Cow became a quintet. In July 1972, the band performed at the Edinburgh Festival, and wrote and performed music for a ballet with artist Ray Smith and the Cambridge Contemporary Dance Group at the Edinburgh Festival Fringe.
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Similarly to automobiles that have been used on a daily basis over the years, musical instruments do not sound the same or work in the same manner that they once did when they were new. Parts wear out and at times just need to be replaced. On a side note, the average lifespan of instruments depends on the classification of them: “woodwinds or brass instruments last about twenty years, while pianos last about 100 years, and string instruments for a maximum of 200 years.
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The middle section (B) of the movement also has two elements, an imitative passage in B minor accompanied only by the strings, and a mostly homophonic part with strings and woodwinds, after which A is repeated completely. Musicologist Julian Mincham notes that "the sweeping exhilaration of this movement is impossible to describe in words". Bach reused the movement as the opening movement of his Christmas Oratorio, "Jauchzet, frohlocket" (Shout for joy, exult). The voices imitate the sound of timpani and trumpets even with the new text.
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The Pied Piper of Hamelin was the antagonist of Peter & Max: A Fables Novel. He was elder brother to Peter Piper, and a sorcerer powerful enough to face Frau Totenkinder in her place of power (Fabletown). Born in Hesse, the Homeland that mirrors German fables, Max and Peter's family were caught in the middle of a goblin invasion (under the supervision of the then-burgeoning Empire). The Piper family had a tradition of woodwinds performance, and passed down an ancient pipe named Frost from generation to generation.
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The group currently hosts a Winter Guard International (WGI) regional championship in February, featuring many winterguard units from around the state of California. In 2011 the Marching Patriots swept the entire Sweepstakes category at the Stockdale Band Spectacular, winning High Music, High Woodwinds, High Brass, High Colorguard, High Percussion, and High Band (91.4). The Marching Patriots were unable to compete in 2020 due to the COVID-19 pandemic. The group is now under the direction of Jason Armistead, after being under the direction of Mark McGuire.
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Throughout this work, Dohnányi retains the Romantic sentiment manifested in the work of Brahms, who had championed Dohnányi when the latter was an aspiring composer at the end of the 19th century. Dohnányi's orchestration holds numerous similarities to that of Brahms; in particular, the use of woodwinds in the Second Symphony takes influence from Brahms' work in the same area. The presence of Wagner is also notable, e.g. Dohnányi's use of brass in the opening and concluding movements, hinting at Parsifal and other of Wagner's later work.
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KBYU piece on Lyon He was first called as an organist for a congregation of the LDS Church when he was 16 years old. That same year, he wrote and premiered a sextet for brass and woodwinds at Granite High School in Salt Lake City, Utah. He served as a LDS Church missionary in the Netherlands Mission, and organized and directed the choir from that mission that sang at the dedication of the Swiss Temple. In 1958 he married Donna Reeder in the Salt Lake Temple.
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The Philip Glass Ensemble is an American musical group founded by composer Philip Glass in 1968 to serve as a performance outlet for his experimental minimalist music. The ensemble continues to perform and record to this day, under the musical direction of keyboardist Michael Riesman. The Ensemble's instrumentation became a hallmark of Glass's early minimalist style. While the ensemble's instrumentation has varied over the years, it has generally consisted of amplified woodwinds (typically saxophones, flutes, and bass clarinet) keyboard synthesizers, and solo soprano voice (singing solfeggio).
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In 1975 Cannata was introduced to Billy Joel's bass player Doug Stegmeyer through Stegmeyer's brother Al. At the time Billy Joel was looking for a sax player and Cannata was given a position in the band. Cannata played in Tommy Shaw's band in the mid-1980s, performing on Shaw's first three solo albums. He also played for Taylor Dayne in the late 1980s/early 1990s, and was a saxophonist with Bernie Williams. From 1991 until 1998, Cannata toured with The Beach Boys, playing saxophone, woodwinds and synthesizers.
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In late 1984, the Youngbloods briefly reunited for a club tour. The 1984 line-up contained Young, Corbitt and Levinger, plus new members David Perper (drums, ex-Pablo Cruise) and Scott Lawrence (keyboards, woodwinds). Once the tour was completed, the group disbanded once again by mid-1985. Following the September 11 terrorist attacks, the media conglomerate Clear Channel Communications included the Youngbloods' recording of "Get Together" on a list of "lyrically questionable" songs that was sent to its 1,200 radio stations in the United States.
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Musical instruments used in Baroque music were partly used already before, partly are still in use today, but with no technology. The movement to perform music in a historically informed way, trying to recreate the sound of the period, led to the use of historic instruments of the period and to the reconstruction of instruments. The following table lists instruments, classified as brass instruments, woodwinds, strings, and basso continuo. The continuous bass is played by a group of instruments, depending on the given situation.
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Composer and arranger Ralph Carmichael convinced the label to finance Rhapsody in Sacred Music (1958), an instrumental album that featured a full symphony, including four trumpets, four trombones, multiple french horns, woodwinds, a string section of at least 12 violins and four viola, two bass harps, and percussion. "It was the first all-instrumental sacred music recording with that size orchestra", Carmichael said. "It was a scary experiment and I nearly broke the record company." Sacred Records was acquired by Word Records in 1963.
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A Russian Domra The orchestra, in what became a typical composition for later generations of military ensembles in the Soviet Union, has a mixed composition of Russian traditional instruments and western instruments, including the balalaika, the domra, the bayan, the double bass, woodwinds, brass, and percussion instruments. A great guest balalaika player was Boris Stepanovich Feoktistov (Борис Степанович Феоктистов) (1910–1988). In the West his most famous recording is Kamarinskaya (1963). CD: EMI: Soviet Army Chorus & Band, CDC-7-47833-2 DIDX-1015, "Kamarinskaya".
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The KSU Marching Band performs at halftime of a K-State football game at the University of Kansas in 2008 The Kansas State University Marching Band, also known as "The Pride of Wildcat Land" or just The Pride, is a 400+ piece marching band consisting of woodwinds, brass, percussion, color guard, dancers, and twirlers. It is the official band of Kansas State University.About KSU Band In 2015, the Pride of Wildcat Land was awarded the Sudler Trophy, which honors the nation's top collegiate marching bands.
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He added that the deck's pitch instability was audible "every so often, particularly with woodwinds". Szabady, in Stereo Times, also agreed that musical expressiveness was the classic strength; its weaknesses included occasional speed inconsistency and slurring of heavily modulated bass transients. HiFi Choice said in 1984 that the Planar 3 sounded "nicely musical in a balanced and coherent manner. Presentation of detail was considered well above average"; in 1992 it asserted that the Rega Planar 3 has been "a long time leader" under £250.
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In the Chinese poem set by Mahler, the ape is a representation of death, while the Elmira motif itself occurs together with the "funeral knell" of a tam tam.Kravetz p. 162. There is also more than a passing resemblance of this motif to the slow fanfare theme in the finale of Sibelius's Fifth Symphony; similar instrumentation (horns, woodwinds) is used for the Elmira motif here as in the Sibelius work. Over the course of the movement, the DSCH and Elmira themes alternate and gradually draw closer.
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Jerome Lanier was an English musician, sackbut player, son of Nicholas Lanier the Elder, hence uncle of Nicholas Lanier, the artist-musician. Jerome Lanier was appointed in 1599 musician to court of Elizabeth I as Musician in Ordinary on woodwinds and sackbut replacing Mark Anthony Bassano, a post he held until 1643. He lived in Greenwich, and was married twice: 1) Phrisdewith Grafton, daughter of William Grafton, who died in 1625; their children included William Lanier (born 1618; a musician). 2) Elizabeth Willeford in 1627.
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Percussion instruments may play not only rhythm, but also melody and harmony. Percussion is commonly referred to as "the backbone" or "the heartbeat" of a musical ensemble, often working in close collaboration with bass instruments, when present. In jazz and other popular music ensembles, the pianist, bassist, drummer and sometimes the guitarist are referred to as the rhythm section. Most classical pieces written for full orchestra since the time of Haydn and Mozart are orchestrated to place emphasis on the strings, woodwinds, and brass.
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After laying down the basic tracks for Deserter's, the band then spent two months at Tarbox Road studio, recording string arrangements and mixing the album with one-time band member Dave Fridmann. It was at this moment that the band's sound was completely re- imagined. Whereas on previous albums, the band would flesh out basic tracks with layers of distortion and guitars, this time classical music instruments - strings, horns, and woodwinds - were used instead of guitars. The album was mastered to 35mm magnetic film for fidelity purposes.
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Although songwriter and musician, Jeffrey Frederick, organized his first Clamtones band in Vermont during the early 1970s, the best-known incarnation of the band was based out of Portland, Oregon. The Clamtones usually comprised Frederick (vocals and guitar); Jill Gross (vocals); Robin Remaily (mandolin, fiddle, guitar, other strings); Richard Tyler (piano); Dave Reisch (bass); Teddy Deane (woodwinds and horns); and Roger North (drums). As the Clamtones, Gross, Reisch and Remaily joined Frederick, Peter Stampfel, Michael Hurley and friends on the 1976 Have Moicy! (Rounder Records).
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The so- called "Isn't It a Pity (Version Two)" is noticeably slower than the better known, seven-minute "epic" reading of the song.Leng, p. 98. Eric Clapton's lead guitar fills, phased piano from Tony Ashton, and John Barham-arranged woodwinds dominate Version Two, which is also more in keeping with the Beatles' earlier attempts on the track; as with "Ballad of Sir Frankie Crisp", it features extensive use of the Leslie speaker sound so familiar from the band's Abbey Road album.Madinger & Easter, p. 432.
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Rodeo opens with a grand fanfare, vamping until R5-6, where the woodwinds introduce the Cowgirl's theme. This quiet theme continues until the Rodeo theme begins presenting a highly rhythmic motif that evokes the trotting of horses. The lone Cowgirl seeks the affections of the Head Wrangler, who is rather taken with the more feminine Rancher's Daughter. The cowboys enter to the railroad tune of "Sis Joe", envisioned by de Mille as an event "like thunder," which Copland obliges with heavy drums and brass.
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UofL Band at the 2008 Ryder Cup During the University's Fall semester, the band rehearses from 4:30pm to 6:30pm on Mondays, Wednesdays, and Fridays. Membership includes the brass and woodwinds, drumline, the feature twirler, colorguard, and drum majors. It is composed of students at the university (music majors and non-music majors alike) as well as select students of other Metroversity colleges that don't have a marching band program of their own. Members receive both a college credit and a scholarship for participation.
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At the beginning of the composition, the first part of the theme, resembling Arirang, is introduced quietly in the clarinets; the other instruments join in to play the second part. The song then consists of five variations on this theme. # The first variation, marked Vivace, turns the theme into a series of rapid sixteenth notes, played by the woodwinds and temple blocks at first and then the entire band. It ends with a set of sixteenth notes played by the entire band in unison.
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Philip Johnston (keyboards/woodwinds) was also added to the group at about the same time. This line-up (Rouse/Shepperson/Bergman/Johnston) recorded 1983's Story Of The Year, which was released only in Europe via Belgian label Les Disques Du Crépuscule. Although he had left Tirez Tirez, original band member Burk would continue to contribute finished artwork to future Tirez Tirez album and single releases after his 1982 departure; the same would be true of original drummer Shepperson after his departure in early 1984.
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Although Wood himself as well as music critics continue to hold Message from the Country in high regard, in 2005 Bevan referred to that album as his least favourite from the Move.Liner notes, Message from the Country re- issue, EMI Records, 2005. The album was followed by two more Wood-penned hit singles, "Tonight" and "Chinatown". For several television appearances behind those songs, the Move added two musicians who became members of the original ELO: Bill Hunt (horns, woodwinds, piano) and a returning Richard Tandy (guitar, bass).
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The School of Music has been fully accredited by the National Association of Schools of Music since 1938. The School offers the only comprehensive music program from undergraduate through doctoral study in performance and music education in North Carolina. Entrance to School of Music Building through Peabody Park The current Director of the School of Music is Dennis AsKew. The School of Music is currently divided into 11 areas: Brass & Percussion, Composition, Conducting & Ensembles, Ethnomusicology & Musicology, Jazz, Keyboard, Music Education, Percussion, Strings, Theory, and Woodwinds.
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St. Matthew Passion in English, sound tracks He premiered the Elegy for flute, harp and string orchestra by John Veale in 1951.Obituary John Veale With the Melos Ensemble he recorded chamber music for both woodwinds and strings, such as Ravel's Introduction and Allegro along with Osian Ellis (harp), Gervase de Peyer (clarinet), Emanuel Hurwitz and Ivor McMahon (violin), Cecil Aronowitz (viola) and Terence Weil (cello).Melos Ensemble – Music among Friends EMI both 1961 and 1967.Maurice Ravel (1875–1937) William Hedley, musicweb- international.
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It has been claimed the sound-producing mechanism did not generate sufficient power to fill the large halls that were becoming home to modern stringed instruments, brass, woodwinds, and percussion. That the instrument was made with glass, and subject to easy breakage, perhaps did not help either. By 1820, the armonica had mostly disappeared from frequent public performance, perhaps because musical fashions were changing. A modern version of the "purported dangers" claims that players suffered lead poisoning because armonicas were made of lead glass.
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A tour with Secret Chiefs 3 followed, after which the album was released as 2010's Coyote on Hydra Head. Sueta died while the record was in post-production, which compelled the band to dedicate their performance to her. The album featured a rotating lineup of Driver on bass and vocals, Terran Olson on keyboards, David Bodie on drums, Mia Matsumiya on violin, Tim Byrnes on trumpet, and Daniel Means on woodwinds. Despite receiving mixed reviews, some sources (including PopMatters) praised Coyote for its concept.
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The march tread of the movement is suggested beginning at bar 8 by a series of throbbing chords on beats two and four, pulsing in the string and drum accompaniment under the grave winds and brass melody. An unexpected welling of emotion is heard just before the March section closes at rehearsal 70, followed by a transitory passage featuring a "sigh" motive (rehearsal 70) in the woodwinds. This transition modulates to the second theme in F minor opens with a lyrical but subdued string episode at 71.
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Henry won top prizes at the National Chopin Competition in 2010, the Montreal International Competition in 2011 and the China Shanghai International Piano Competition in 2012. In 2014 he was added to the roster of Astral Artists, an organization that annually selects a handful of rising stars among strings, piano, woodwinds, and voice candidates. The following year, he earned a top prize in the 2015 Honens International Piano Competition. In 2016, he garnered international recognition with a second prize win in the Queen Elisabeth Competition in Brussels.
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Ruby Blue is an avant-pop, jazz and glitch album that mixes electronica with early-20th century vocal jazz, an interest of Herbert's. The instruments, primarily brass and woodwinds, are layered over sampled noises such as alarm clocks, a water cooler, hairspray and helmets. Murphy's vocals were described as a combination of "a less-pained Billie Holiday and a less- sheltered Doris Day". She cited OutKast's 2003 double album Speakerboxxx/The Love Below as an influence, stating that "it was experimental, it was soulful and funky".
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Houlik began teaching at East Carolina University where he built a successful saxophone program. He later became professor of Saxophone at the North Carolina School of the Arts. He was for twenty-two years Professor of Saxophone and Chair of Woodwinds at Duquesne University, and is now Artist Lecturer in Saxophone at Carnegie Mellon University, both in Pittsburgh, Pennsylvania. He has held many summer saxophone study programs, at North Carolina School of the Arts and more recently at Wildacres Retreat, a facility in Little Switzerland, North Carolina.
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Although percussion instruments are omnipresent, Nigeria's traditional music uses a number of diverse instruments. Many, such as the xylophone, are an integral part of music across West Africa, while others are imports from the Muslims of the Maghreb, or from Southern or East Africa; other instruments have arrived from Europe or the Americas. Brass instruments and woodwinds were early imports that played a vital role in the development of Nigerian music, while the later importation of electric guitars spurred the popularisation of jùjú music.
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Tummaa is a 2009 album by Finnish producer Sasu Ripatti under the name Vladislav Delay. It is unique among the Vladislav Delay solo discography for its use of live instrumentation provided by other musicians, namely Argentinian musician Lucio Capece on woodwinds and Scottish composer Craig Armstrong on keyboards. The album's name means "dark" in Finnish and is a reference to kaamos, the Finnish polar night, during which time Delay recorded this album. Tummaa is often cited as Ripatti's most jazz-oriented Vladislav Delay album.
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Keyboardist Robert Lamm, guitarist Terry Kath and bassist Peter Cetera shared lead vocals, while James Pankow, Lee Loughnane and Walter Parazaider handled all brass and woodwinds (trombone, trumpet and saxophone, clarinet and flute respectively) and Danny Seraphine played drums. Band members added percussion during sections of a song when they weren't playing their main instrument. For example, on "I'm a Man", Pankow was on cowbell, Parazaider on tambourine, and Loughnane on claves. Lamm, Kath and Pankow were the band's main composers at this time.
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Bach revised the Passion by 1736, for a performance on Good Friday 30 March 1736. This is the version (with some possible later adjustments) that is generally known as the St Matthew Passion, BWV 244. In this version both choirs have SATB soloists and chorus, and a string section and continuo consisting of at least violins I and II, viola, gamba and organ. The woodwinds are two traversos, oboes and oboes d'amore for each choir, and in addition for choir I two oboes da caccia.
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For a time, there were different colored jackets for the various sections of the band: Black band (low brass and tenor and baritone saxophones), red band (high brass, alto saxophones and the other woodwinds), plaid band (percussion) and white band (drum majors). In 1989, the uniform was changed to maroon jackets (former black band), white jackets (former red band) and maroon vests. The drum majors wear all-white tailcoats. The uniform was changed again in 2010 to coincide with the opening of SIUC's new Saluki Stadium.
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In these cases, the number of drum majors is often based on tradition, rather than being in proportion with the number of musicians. For example, the Florida A&M; Marching 100 fields one drum major for each president in the university's history. Other leaders within the band may include field lieutenants and captains of sections such as brass, drumline, and woodwinds, and members that lead a section, squad, row, etc. Some bands assign drum majors the dual role of leading and conducting the ensemble on the field.
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Panic is a concertante work for alto saxophone, jazz drum kit, woodwinds, brass and percussion by Harrison Birtwistle. It was written in 1995 and premiered as part of the Last Night of the Proms on 16 September 1995 at the Royal Albert Hall, London. At the premiere the solo saxophone part was played by John Harle, the drum kit by Paul Clarvis and the BBC Symphony Orchestra was conducted by Andrew Davis. It was commissioned by John Drummond in his last season as director of The Proms.
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Magic at Xanadu (MAX) was recorded at the Knickerbocker Theatre in Holland, Michigan in 2008 and became a feature of The McLean Mix tours through 2010. Currently, McLean is composing with and developing concepts on the Kyma system provided by Symbolic Sound. The McLean Mix performed from 1974 to 2013, presenting their separate works and collaborations across the USA and internationally; in these concerts he played the piano or synthesizer, plus woodwinds, amplified bicycle wheel, invented instruments, percussion, and digital processors.The New Grove Dictionary of Music and Musicians, 2nd edition, Vol.
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The son of a big band woodwinds player, Kindell began playing a variety of instruments, including violin, accordion, piano, clarinet, tenor, alto, and baritone saxophones, flute, banjo, and guitar. Upon moving to Los Angeles in the 1960s, he worked as a session guitarist while attending technical school for training in electronics repair. He has an insider's reputation as an expert in the maintenance, restoration, and modification of vintage tube amplifiers and combo organs. He has performed custom technical work on the amps for a host of electric guitarists and bassists.
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Founded in 1905, Greenwich House Music School is a true community based arts school located. The School was the result of a growing Italian population with a strong musical tradition at the turn of the 20th Century in the Village. Started as a place for immigrant children Greenwich House Music School now provides music, art and dance education for both children and adults. About 40 faculty members provide group and individual instruction for a variety of instruments including piano, strings, guitar, harp, percussion, woodwinds, brass and Suzuki Violin.
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350 A new theme is heard in measures 19–30: the woodwinds continue to play, and the texture builds up progressively as the brass instruments enter. After the second theme, the first theme returns briefly, this time in tutti. The clarinets and horns play an alternating rhythm, and the bassoon and the trombone create a hocket as they play the transition to the next section. The third theme, in A♭ major, is heard in measures 40–65, beginning with a passage for solo euphonium accompanied by clarinets playing tremolo, muted trumpets and stopped horns.
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The section grows as more instruments enter, and the phrase reaches its climax with a metric modulation. Theme three is followed by a four-bar interlude in which the oboe solo that began the piece is heard once more, but this time in B♭ major. Measures 72–89 present the fourth and final theme in the key of G major, again with the upper woodwinds playing first and then growing until all the instruments have entered. The first theme returns in measures 73–97, played by the entire ensemble.
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Kharkiv National I. P. Kotlyarevsky University of Arts offers preparatory courses majoring in academic singing and theatre art as well as full-time and part-time courses for BA and MA degrees in Music Art and Theatre Art. The undergraduate degree programs take four years and the graduate degree programs – 1 year Academic majors are piano, strings, brass, woodwinds, folk instruments, variety arts and jazz, composition, orchestral and choral conducting, organ, percussion, academic singing, musicology, theatre studies, drama and cinema acting, stage directing, acting and directing of the theatre of animation.
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It is in three movements: #Allegro moderato #Lento moderato – Piu mosso – Poco largemente – Tempo I #Allegro – Allegro scherzando – Piu largamente – Vivo The blustery opening movement begins with the strings and woodwinds playing a joyous melody, eventually joined by solo trumpet. It is probably the most imposing opening of the Bax symphonies, drawing inspiration from the sea. The organ is used and there are six horns (being the most in any Bax symphony). The second subject is much calmer and gorgeously melodic, being introduced by solo oboe and then taken up by the strings.
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His main teachers included John Sampen and Debra Richtmeyer, and has had additional studies with Jean-Marie Londeix, Claude Delangle, Griffin Campbell, Daniel Kientzy, and Eugene Rousseau. Michael is Artist-Teacher of Saxophone as-well-as Head of Woodwinds at Roosevelt University Chicago College of Performing Arts. He was formerly on faculty at the University of Illinois, the College of Wooster, and University of Notre Dame. Holmes also held positions as Director of Product Marketing for Saxophones at Conn-Selmer and Artistic Advisor and Product Specialist for Vandoren.
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Bruckner with the Order of Franz Joseph, 1886 Bruckner's symphonies are scored for a fairly standard orchestra of woodwinds in pairs, four horns, two or three trumpets, three trombones, tuba (from the second version of the Fourth), timpani and strings. The later symphonies increase this complement, but not by much. Notable is the use of Wagner tubas in his last three symphonies. Only the Eighth has harp, and percussion besides timpani (though legend has it the Seventh is supposed to have a cymbal crash at the exact moment Wagner died.
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Composers seek new timbres, remote from the traditional blend of strings, piano and woodwinds that characterized chamber music in the 19th century. This search led to the incorporation of new instruments in the 20th century, such as the theremin and the synthesizer in chamber music compositions. Many composers sought new timbres within the framework of traditional instruments. "Composers begin to hear new timbres and new timbral combinations, which are as important to the new music of the twentieth century as the so-called breakdown of functional tonality," writes music historian James McCalla.
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Cooper has played woodwind instruments professionally since the 1980s. His work includes backing Jennifer Holliday, Lady Rizo, Kenny Rogers, Macy Gray, Manhattan Transfer, Glen Campbell, Mitch Ryder (and Detroit Wheels), Chris Stamey and playing woodwinds on national tours for the Producers, Sweet Charity, and A Chorus Line. He has played in saxophone sections for the Tommy Dorsey Orchestra, the Guy Lombardo Orchestra, the Temptations and on the CD Coming Through Slaughter: The Bolden Legend.Lover Man, The Memphis Jazz Orchestra, Jack Cooper, solo/lead alto sax, June 2, 2013.
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Samsons performed this song with a new arrangement and with one of their musical trademarks, which is orchestra. Just like in I Love You, in Cinta Mati they are still working with Budapest Scoring Symphony Orchestra. They picked up 55 best orchestra players in Budapest consisting of 40 strings players, 7 woodwinds players, 7 brass players, 1 percussionist who used to make scoring for Hollywood movies. The sound of the orchestra is not something new in Samsons music because in 2007 on the album Penantian Hidup, Samsons was working with the Sydney Philharmonic Orchestra.
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The piece is scored for: :Solo piano :Ondes Martenot Woodwinds : 1 piccolo : 2 flutes : 2 oboes : 1 cor anglais : 2 clarinets : 1 bass clarinet : 3 bassoons Brass : 4 horns : 3 trumpets : 1 trumpet in D : 1 cornet : 3 trombones : 1 tuba Percussion (8 to 11 percussionists) : Vibraphone : Keyed or mallet glockenspiels : Triangle : Temple blocks : Wood block : Cymbals (crash and three types of suspended) : Tam tam : Tambourine : Maracas : Snare drum : Provençal tabor : Bass drum : Tubular bells : Celesta Strings : 32 violins : 14 violas : 12 cellos : 10 double basses The demanding piano part includes several solo cadenzas.
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The second movement differs drastically from the first, bearing little resemblance to the shifting, stifled martial atmosphere of the opening movement. It begins with a pseudo-Romantic theme from the woodwinds, the flutes and oboes playing prominent parts. They are later joined by the strings in a sweeping entrance hinting at the style of Dvořák, which play fluidly into a cheerful, but not light, development. This passage quiets and the main theme is recapitulated with the flutes, after which a solo clarinet scales playfully, with the support of soft strings and horn.
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Arnold Schoenberg began to arrange Das Lied von der Erde for chamber orchestra, reducing the orchestral forces to string and wind quintets, and calling for piano, celesta and harmonium to supplement the harmonic texture. Three percussionists are also employed. Schoenberg never finished this project, but the arrangement was completed by Rainer Riehn in 1980. In 2004, the Octavian Society commissioned Glen Cortese to create two reductions of the work, one for a chamber ensemble of twenty instruments and one for a small orchestra with woodwinds and brass in pairs.
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The strings and woodwinds were arranged by Jef Labes in a New York studio. The song "Come Here My Love" was inspired during the week of the sessions and another song "Country Fair" was left over from the Hard Nose the Highway album and provided a fitting sense of closure. "Bulbs" and "Cul de Sac" were recut in New York later with musicians with whom Morrison had never worked before: guitarist John Tropea, bassist Joe Macho and drummer Allen Schwarzberg. Given a rock music treatment, these songs were released as the single for the album.
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It was also listed in "101 Irish Records (You Must Hear Before You Die) – Tony Clayton-Lea". Feeney first composed the songs and all of the orchestral parts, and then she conducted the orchestra in the recording. The orchestra which included woodwinds, brass, strings, vibraphone and glockenspiel (among others) was recorded over 2 sessions in one day at the Irish Chamber Orchestra Studio in Limerick. Unusual about this album is that all of the instrumental music is played by the orchestra with no additional instruments or midi instruments.
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The second movement functions as a short but intense interlude between the outer movements. It falls into two sections, the first beginning in the brass and woodwinds, finally giving way to the violins. This is followed, after a descending transitional passage in the low brass, by the second section, where the double basses present the theme that will form the basis of the finale. There is a suggestion of the contrapuntal atmosphere, and even an anticipation of the two counterthemes of the first variation of the following movement .
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The harpsichord or pipe organ basso continuo role in orchestra fell out of use between 1750 and 1775, leaving the string section woodwinds became a self-contained section, consisting of clarinets, oboes, flutes and bassoons. While vocal music such as comic opera was popular, great importance was given to instrumental music. The main kinds of instrumental music were the sonata, trio, string quartet, symphony, concerto (usually for a virtuoso solo instrument accompanied by orchestra), and light pieces such as serenades and divertimentos. Sonata form developed and became the most important form.
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His own taste for flashy brilliances, rhythmically complex melodies and figures, long cantilena melodies, and virtuoso flourishes was merged with an appreciation for formal coherence and internal connectedness. It is at this point that war and economic inflation halted a trend to larger orchestras and forced the disbanding or reduction of many theater orchestras. This pressed the Classical style inwards: toward seeking greater ensemble and technical challenges—for example, scattering the melody across woodwinds, or using a melody harmonized in thirds. This process placed a premium on small ensemble music, called chamber music.
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The following short secco recitative ends as an arioso on the words "" (plead in vain). In the chorale, the woodwinds play the cantus firmus in unison with the alto voice, while the strings play independent figuration in F major, illustrating hope, although the text says that hope is not yet in sight. John Eliot Gardiner terms it "confident diatonic harmonies" as an "optimistic, wordless answer" to the voice's "prayer for comfort". A second expressive recitative leads to a second aria, which is accompanied by violin I and the recorders, playing in unison an octave higher.
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Canadian instrumental jazz and hip-hop group BadBadNotGood have released five studio albums, including Sour Soul, a collaborative album with Ghostface Killah, and numerous singles. BBNG consists of Chester Hansen (bass), Alexander Sowinski (drums), Leland Whitty (woodwinds and guitar), and formerly Matthew Tavares (keys). Collaborative since their origin, BBNG is well known for working with artists like Daniel Caesar, Kali Uchis, and Mick Jenkins, as well as more established hip hop acts like MF Doom and Wu-Tang Clan. In the producer role, BBNG often collaborates with fellow Canadian producers Frank Dukes and Kaytranada.
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Small follows in the tradition of 18th- and 19th-century pianist/composers. In addition to music for the piano, he has written works for woodwinds and other instruments, ensembles and the symphony orchestra, as well as choral pieces and music with narration. He has received commissions from such organizations as the Washington Ballet, Three Rivers Piano Competition, Georgetown Symphony and Paul Hill Chorale, and he was the winner of the 1999 Marin Ballet Dance Score Competition. From 2000 to 2003, he was composer-in-residence with the Mount Vernon Orchestra.
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His world flutes and woodwinds solos are also featured with several artists, including Sir Paul McCartney on his song "Jenny Wren", and "Growing Up Falling Down" which appears on the single Fine Line. For ten years he was the principal flute of Yanni Orchestra. He later performed on McCartney's 2018 album, Egypt Station. He was a featured soloist in the 2005 Grammy-award winner “Concert For George”, playing for possibly the first time ever the Armenian duduk in a traditional Indian classical music setting, alongside his teacher, the late Pandit Ravi Shankar.
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This melody, growing more and more passionate, is broken by a strong passage in the horns which finally give out in unison a joyous measure, the basses sounding the trumpet call inverted, leading to the Finale. Over a lively movement in the strings, the trumpets sound a variation of their call. A second melody follows in the oboes and cellos against the harmony of woodwinds and horns, which is suddenly interrupted by the return of the first melody. After development the episode of the unison horns and inverted trumpet call returns.
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She began to learn about Creole culture, language and history following Hurricane Katrina in 2005. Her group Chelle! and Friends commemorates the music of Mardi Gras, New Orleans, performs Creole music, and is made up of Jacques, Rhonda Crane, Jay Lamont and Bryan Dyer, with Donna Viscuso on woodwinds, and Sam Bevan on bass. She is the recipient of the 2008 City of Oakland, Individual Artist grant, and was awarded the 1995 Contemporary A Cappella Recording Awards (CARA) for writer of the Best Folk/Progressive Song "Home Africa".
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In an antiphonal section, the composer may have one group of instruments introduce a melodic idea (e.g., the first violins), and then have the woodwinds "answer" by restating this melodic idea, often with some type of variation. In the trio section of the minuet from his Symphony No. 41 (1788), the flute, bassoons and horn exchange phrases with the strings, with the first violin line doubled at the octave by the first oboe:Trio section of the Minuet from Mozart's Symphony No. 41. Trio section of the Minuet from Mozart's Symphony No. 41.
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In the recording sessions, thirty-three microphones were placed around the orchestra that captured the music onto eight optical sound recording machines placed in the hall's basement. Each one represented an audio channel that focused on a different section of instruments: cellos and basses, violins, brass, violas, and woodwinds and tympani. The seventh channel was a combination of the first six while the eighth provided an overall sound of the orchestra at a distance. A ninth channel provided a click track function for the animators to time their drawings to the music.
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Upon returning to the London scene in the early 1970s, Etheridge briefly worked with the Deep Purple offshoot Warhorse, followed by a stint with Icarus during the final stages of recording their album The Marvel World of Icarus. He recalled: "I'd been on the fringes of the London rock scene for a couple of years, and one of the musicians I came across was [Icarus woodwinds player] Norrie Devine. I desperately needed somewhere to live, and he put me in touch with Peter Curtain."Wells, David (May 2007).
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When the guitarist plays such a series of notes quickly up and down as an arpeggio, the phrasing sounds typical of pianos and other instruments more associated with such arpeggios. Unlike pianos, woodwinds, and many other instruments, the guitarist can change key by moving the same arpeggio shape up and down the fretboard. Compared to other techniques, such as alternate picking, sweep picking requires few strokes. In some instances, however, a guitarist uses hammer-ons and pull-offs to produce a legato sound instead of actual pick strokes.
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The theme of the minuet was, again, a variant of the gondolier's folk hymn, thus becoming another example of thematic transformation. Calmer than either of the outer sections, it was intended to depict Tasso's more stable years in the employment of the Este family in Ferrara.Searle, "Orchestral Works", 288. In a margin note, Liszt informs the conductor that the orchestra "assumes a dual role" in this section; strings play a self-contained piece based on the original version of the gondolier's hymn while woodwinds play another based on the variation used in the minuet.
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Compositions comprise a huge variety of musical elements, which vary widely from between genres and cultures. Popular music genres after about 1960 make extensive use of electric and electronic instruments, such as electric guitar and electric bass. Electric and electronic instruments are used in contemporary classical music compositions and concerts, albeit to a lesser degree than in popular music. Music from the Baroque music era (1600–1750), for example, used only acoustic and mechanical instruments such as strings, brass, woodwinds, timpani and keyboard instruments such as harpsichord and pipe organ.
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Retrieved 10 September 2011 Baroque orchestras are typically much smaller, in terms of the number of performers, than their Romantic-era counterparts. Baroque orchestras originated in France where Jean- Baptiste Lully added the newly re-designed hautbois (oboe) and transverse flutes to his orchestra, Les Vingt-quatre Violons du Roi ("The Twenty-Four Violins of the King"). As well as violins and woodwinds, baroque orchestras often contained basso continuo instruments such as the theorbo, the lute, the harpsichord and the pipe organ. In the Baroque period, the size of an orchestra was not standardised.
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The cello enters and a gradual decrescendo to another restatement of the theme marked piano. This is followed by a contrasting, loud restatement of the theme played by woodwinds accompanied by strings and brass. This is followed by a moderato section in C major and eventually meno mosso which slowly modulates from A major to C major to B major and finally goes to the original tempo in B major. This is followed by another quiet and slow section which uses material from the first movement and second movement.
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His saxophone solo work can be heard on such songs as "Tears of Rage" (from Big Pink) and "Unfaithful Servant" (from The Band). Hudson is credited with playing all of the brass and woodwinds on the studio version of "Ophelia" from the 1975 album Northern Lights - Southern Cross. This album, the first to be recorded in the Band's Shangri-La recording studio in Malibu, California, also saw Hudson adding synthesizers to his arsenal of instruments. Hudson is playing organ to the left, at the Last Waltz concert in 1976 Hudson provided innovative accompaniment.
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Sweet Thursday was a short-lived late-1960s English rock band. The group included famed session keyboard player Nicky Hopkins, who had worked with The Beatles, The Rolling Stones, Jeff Beck, and many others; folk guitarist, singer, and past session man Alun Davies (subsequently a frequent collaborator of Cat Stevens'); and singer, guitarist, composer and past Davies cohort Jon Mark (later of Mark-Almond). Thus Sweet Thursday was arguably a minor instance of the "supergroup" phenomenon. Other members were drummer Harvey Burns and bassist, woodwinds player and songwriter Brian Odgers.
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David Ewen, Music for the Millions – The Encyclopedia of Musical Masterpieces (READ Books, 2007) p533 The symphony begins with a highly original, rather forlorn clarinet solo backed by subdued timpani. His Second Symphony, the most popular and most frequently recorded of his symphonies, was first performed by the Helsinki Philharmonic Society on 8 March 1902, with the composer conducting. The opening chords with their rising progression provide a motif for the whole work. The heroic theme of the finale with the three-tone motif is interpreted by the trumpets rather than the original woodwinds.
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In 2010, Muruga Booker and The Rain Forest Band (featuring Badal Roy on percussion, Perry Robinson on clarinet) played at the Detroit Jazz Festival.Detroit International Jazz Festival: Navigating a stellar lineup on mlive.com In 2013 he formed Muruga & the Cosmic Hoedown Band (Later renamed to Muruga Cosmic Boogie), with Muruga (drums, guitar, and vocals), Shakti Booker (vocals & drums), Parliament Funkadelic member Tony "Strat" ThomasTony Thomas discography on Discogs (guitar), Patrick Sarniak (guitar), Benjamin Piner (bass), Douglas Weaver (bass), and Ralph Koziarski (woodwinds, brass & percussion).Muruga & the Cosmic Hoedown Band in SonicBids.
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Established by the BBC in 1940 as the Scottish Variety Orchestra, the orchestra was originally a freelance ensemble under the direction of arranger and conductor Ronnie Munro and based at the BBC Studios in Glasgow. It shared studio space with the BBC Scottish Symphony Orchestra. This new orchestra had an instrumentation comprising a small brass section, woodwinds, four saxophones, strings and a basic rhythm section including accordion. Having a small saxophone section, it was effectively a showband, and this line up which would enable it to play both light and dance music.
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Trombonist playing with a straight mute, the most common brass mute A mute is a device attached to a musical instrument which changes the instrument's tone quality (timbre) or lowers its volume. Mutes are commonly used on string and brass instruments, especially the trumpet and trombone, and are occasionally used on woodwinds. Their effect is mostly intended for artistic use, but they can also allow players to practice discreetly. Muting can also be done by hand, as in the case of palm muting a guitar or grasping a triangle to dampen its sound.
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Lars Gulliksson (born 7 June 1967 in Övertorneå) is a saxophonist, composer, and arranger now living in Stockholm, Sweden. He has performed with many of the most prominent Swedish Jazz musicians as well as many international artists, in the radio, TV and on records. The tenor saxophone is his main instrument, but he is also known as a multi-instrumentalist, playing various woodwinds, in Folk- and World music etc. Studies at Mannes College of Music in New York (with George Coleman, Ellery Eskelin, Richie Beirach m fl), Malmö Academy of Music etc.
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Dreith showed a talent for music at an early age. He learned to play a variety of keyboard and reed instruments while still in his teens. While in college, Dreith played woodwinds and toured with Paul Revere & the Raiders and The Beach Boys. He later toured with the Osmond Brothers and recorded with many artists including Leon Russell, Giorgio Moroder, Mama's Pride and Firefall, often as a musician as well as an arranger and conductor. He recorded on The Beach Boys “15 Big Ones” for which he was awarded an RIAA Gold Record.
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However, according to band lore, Barnes immediately won the band's loyalty by ceding any meaningful control over it. As a result, the band is almost entirely student-run. In 1972, the Band went from an all- male band to co-ed. The band and its new director also clicked over his arrangement of "The Star-Spangled Banner", which featured the striking effect of a single trumpet playing the first half of the song, joined later by soft woodwinds and tuba, and finally bringing the full power of the brass only in the final verse.
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In 1945 he was appointed Professor of Physics at the University of Southern California, a post he retained until his retirement in 1980. During the early part of his career, his research focussed on gaseous discharges in strong magnetic fields. He was also a musician, trained as a performer on piano, bassoon, clarinet and other woodwinds and received the degree of MMus in conducting from the University of Southern California in 1959. In his later career he turned increasingly to the study of musical acoustics, particularly those of wind instruments and organ pipes.
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Laird-Clowes and Gabriel met each other in the late 1970s whilst the former was in a band called The Act. Their idea was to create a songscape different from the power pop groups popular at the time in the UK, by mixing instruments and sounds that had been rarely done prominently before, such as strings, woodwinds, percussion (timpani), and synthesizers. At first, Laird-Clowes and Gabriel called themselves the Politics of Paradise. Laird-Clowes met Kate St John (then of The Ravishing Beauties) at a party and asked her to join his band.
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The series’ main title theme and primary incidental music was composed by George Duning and features sweeping musical elements highly reminiscent of classic American cinematic Westerns. For at least the first pilot episode, the theme song starts with a more relaxed woodwinds intro leading into the title refrain at a moderate tempo. For the remainder of season one, the tempo is increased and the intro is shortened, with much more aggressive phrase. For seasons three and four, the main theme was reworked again with a much more brass-heavy orchestration.
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Russell Howland (1908 in Missouri - 1995) was an American music educator, one of the most highly regarded woodwind teachers in the US of his time. He studied at the University of Illinois and was professor of woodwinds at the University of Michigan until 1948. After 1948, Howland settled at the state college in Fresno, California, where he was active as an arranger and composer for wind band and clarinet choir. In 1975 he was made a member of the hall of fame of the California Music Educators Association.
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Anna-Varney Cantodea later admitted that Dead Lovers' Sarabande was dedicated to, but not about, the late Rozz Williams, former frontman of deathrock band Christian Death. Musically, a shift was made towards folk music and chamber pieces, with more prominent passages for string instruments. For the first time, live brass and woodwinds players were used instead of synthesized instruments; the leap to organic strings occurred on The inexperienced Spiral Traveller. Whereas previous albums contained some wall of sound production techniques, (Face One) was more intimate and featured minimalist arrangements.
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This movement again shows a conscious difference from Ravel's: The Frenchman's is a pounding, brutal, percussionistic piece, while Stokowski's is more a grotesque scherzo—a danse macabre. The piece opens with the major sevenths being given out in snarls of muted brass. As in "Gnomus," phantasmagoric effects of orchestration flit briefly by in a nightmarish kaleidoscope—grunting strings, snarling brass, shrieking woodwinds. The middle section features Stokowski's most brilliant orchestral touch in the piece—fluttertongued trills and tremolos on the horns and muted trumpets; later the downward chromatic scale is fluttertongued on the muted trombones.
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Edwin C. Metcalfe was a saxophonist and manager of WPTA, who lived in Roanoke, Indiana. Prior to entering the television broadcasting business, Metcalfe was a professional musician. In the 1940s, Metcalfe sang and played woodwinds with the legendary Spike Jones band. Upon his 1974 arrival in Fort Wayne, Metcalfe brought showmanship and sparkle to a tired WPTA news operation, and that, combined with a generous budget, catapulted the station from third place behind the older WANE-TV and WKJG-TV stations, to first place for local news in the Fort Wayne, Indiana market.
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The symphony is in four movements: #Allegro non troppo #Allegretto scherzando #Andante Moderato #Allegro The principal, first theme of the opening movement returns in all of the subsequent movements as a cyclic theme. It appears twice in the development section of the second movement (b. 93 and 168, both times in the low strings), at the beginning of the development in the third movement (b. 32) in the low woodwinds, and in the fourth movement in the development or episodic section, first in the bass clarinet, then with the addition of the bassoons and contrabassoon .
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Parazaider's primary musical role in the band has consisted of playing woodwinds on James Pankow's horn arrangements. Never a prolific writer, Parazaider's compositional contributions ("It Better End Soon: 2nd Movement", "Free Country", "Aire", "Devil's Sweet", "Window Dreamin'") have been few relative to the other members. Parazaider performs the highly recognizable flute solo in the Chicago hit "Colour My World", which became a popular 'slow dance' song at high school proms during the 1970s. The band's 1973 hit "Just You 'n' Me" also features a Parazaider solo, on soprano sax.
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In measures 115–122, the first four notes of the main theme are presented at half the speed, first at the original pitches, and then a major third higher. This material is then returned to the original rhythmic values and passed back and forth between the horn and oboe. The Adagio closes with a simplified version of the opening of the main theme, which reveals the close relationship between the introductory material and the main theme. The movement ends with pianissimo woodwinds and overlapping motives, similar to the opening of the movement.
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32-85; about 2 minutes) is faster and louder, with the melody initially carried by the trombones, horns, trumpets, and cornets. The woodwinds join in, and the music becomes more and more frenzied until the section ends with a massive cymbal and tam- tam crash, suddenly dropping into calmness by the trombones, low clarinets and bassoons. # The Village Song (mm. 86-165; about 5 minutes) is much gentler by comparison; the cor anglais has two solos, with soli in the flutes, piccolos, and oboes and a solo in the horns at the end of each.
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The piece enters a time signature of 6/4; the band plays a series of cantabile two-bar phrases back and forth between the woodwinds and brass, with the string bass playing long strings of eighth-notes, which are passed along to the bells. The song becomes quieter again, and the section ends with another English horn solo. # The Cathedral Chorus (mm. 166-249; about 5 minutes) starts quietly, as the end of Village Song, but a crescendo in the trombones and percussion brings the rest of the band in majestically.
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The strings introduce the Adagio, its mood contemplative and introspective (reminiscent of some of the slow string writing in Simpson's Ninth Symphony and later string quartets). The flute and woodwinds take over this theme in turn. After a passage accompanied by divided cellos, the work reaches its final, extended climax as the flautist is instructed to sit with the string soloists for the very final part of the piece where the conductor is required to sit out. The last five minutes are essentially chamber music - the flute and string soloists forming a quintet, closing peacefully.
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Kettle drums on display in the Trooping of the Colours, 2007 The term military band does not only describe a musical ensemble in today's armies, navies, and air forces, but is the correct description for a specific instrumentation in musical composition. Military bands are frequently categorized, at least in the United Kingdom, together with various brass bands. Military bands comprise both woodwind, and brass instruments with percussion, compared to brass bands, which do not include woodwinds. The development of the brass band is vastly different from that of the military band.
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These associated acts include Metric, Feist, Stars, Apostle of Hustle, Do Make Say Think, KC Accidental, Emily Haines & The Soft Skeleton, Amy Millan, and Jason Collett. The group's sound combines elements of all of its members' respective musical projects, and is occasionally considered baroque pop. It includes grand orchestrations featuring guitars, horns, woodwinds, and violins, unusual song structures, and an experimental, and sometimes chaotic production style from David Newfeld, who produced the second and third albums. Stuart Berman's This Book Is Broken (2009) covers the band from its inception to its critical acclaim.
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Bernstein's chorus itself was "of the highest class", as was his orchestra, which demonstrated its virtuosity by coping with the breakneck pace that he had adopted, perhaps unwisely, for the end of the "Agnus Dei". The audio quality of his disc was fairly good, even if his balance engineer had allowed his woodwinds to "occasionally sound unnaturally prominent". Bernstein's was "a strong, vivid performance", but, although there was little to choose between the two discs, Guest's was the better both technologically and musically.Fiske, Roger: Gramophone, December 1975, p.
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Traffic's singer, keyboardist, and guitarist Steve Winwood was the lead singer for the Spencer Davis Group at age 14. The Spencer Davis Group released four Top Ten singles and three Top Ten albums in the United Kingdom, as well as two Top Ten singles in the United States. Drummer/vocalist/lyricist Jim Capaldi and guitarist Dave Mason had both been in the Hellions and Deep Feeling, while woodwinds player Chris Wood came out of Locomotive. Winwood, Capaldi, Mason, and Wood met when they jammed together at The Elbow Room, a club in Aston, Birmingham.
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The University of Arizona marching band, named The Pride of Arizona, played at the halftime of the first Super Bowl. Most recently, the Pride's 2014 Daft Punk show was chosen by the CBDNA (College Band Directors National Association) as one of ten in the nation to be presented at their National Conference in March 2015. They are directed by UA alumnus and former Pride of Arizona member Chad Shoopman. Instrumentation includes woodwinds, brass, and a marching percussion section, as well as a pomline, twirling line, and color guard.
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Gimbel, "Elgar's Prize Song", 234–235. Featuring a recurring two sixteenth–eighth note rhythm and a sprightly character, it is traded between strings and woodwinds in quick successive units, maintaining a sense of rhythmic unrest through offbeat accompaniment patterns and hemiolas. A second sweeping theme in C minor begins at rehearsal 93, similar in contour and rhythm to the first movement motive mentioned above. Marked fortissimo and sonoramente in the strings, it is occasionally supplemented by winds and horns and punctuated by accented off-beats in the brass and timpani.
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This theme is then repeated piano by the first violins with interjecting woodwind solos. The opening material returns in fragments, running through a series of harmonic sequences and building to the entrance of the third theme at rehearsal 100, which maintains the sweeping aspects of the C minor section with the added rhythmic punch of the opening. This is followed by a return to the opening thematic material in earnest. A pastoral theme appears at rehearsal 106 in the woodwinds, oscillating between a string motive related to the C minor theme and the opening material.
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Hillis was born in Kokomo, Indiana, in 1921. She began to study the piano at the age of five and continued with several other instruments, including woodwinds, brass, and double bass. She made her conducting debut, while still a student, as assistant conductor of her high school orchestra. After suspending her studies during World War II to become a civilian flight instructor in Muncie, Indiana, Hillis received a bachelor of music degree in composition from Indiana University in 1947 and later studied conducting privately with Julius Herford and with Robert Shaw at the Juilliard School.
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This lengthening, which was an afterthought, is tantamount to writing a stronger punctuation mark. As the music progresses, we can hear in the melody of the second theme, for example (or later, in the pairs of antiphonal chords of woodwinds and strings (i.e. chords that alternate between woodwind and string instruments)), that the constantly invoked connection between the two four- note units is crucial to the movement." Steinberg states that the "...source of Beethoven's unparalleled energy...is in his writing long sentences and broad paragraphs whose surfaces are articulated with exciting activity.
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Gailloreto has performed five times at the Chicago Jazz Festival with various ensembles. Gailloreto graduated DePaul University in 1981 with a bachelor's degree in music composition having studied with George Flynn, and received a master's degree in music composition from Northwestern University in 1983 having studied with Alan Stout. He's a recipient of the New Works: Creation & Presentation Program Grant from Chamber Music America and was recognized in Jazziz Magazine's Woodwinds on Fire jazz select disc. Gailloreto is an associate professor of music at Roosevelt University's Chicago College of Performing Arts.
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1 for piano) A last title much in the same style but departing from this nomenclature is also part of the album: # Metamorphosis Glass composed the music which the group performed under the artistic direction of, and with arrangements by, (also at the strings). This was the first time that Glass's music was arranged by another composer. Paulo Sérgio dos Santos and Décio de Souza Ramos Filho played the percussion instruments and Artur Andrés Ribeiro the woodwinds. Regina Stela Amaral and Michael Riesman complemented Uakti's performance of the work at the keyboard.
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The title track, which shared its name with the series, was a sentimental soft-rock song. In the first season, a main vocal track was used for the opening credits, dominated by woodwinds with a synth underscore, and was performed by J.D. Souther. The original opening sequence featured time-lapsed stills of Lewis and Curtis outdoors as the two "bonded". Beginning in the second season and onward, the theme song was now instrumental during the title sequence, featuring an acoustic guitar and piano prominence on a synth base, and a higher pitch.
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The Ingenues was a vaudeville style all-girl jazz band based in Chicago, which toured the United States and other countries from 1925 to 1937. Managed by William Morris, the group performed frequently for variety theater, vaudeville and picture houses, often billed as the opening stage show before double features. They headlined the Ziegfeld Follies of 1927, Glorifying the American Girl, an act featuring 12 white baby grands as well as various combinations of brass bands, strings and woodwinds. The group specialized in jazz, Tin Pan Alley, light classical works and Dixieland.
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Bowen, York. "Arnold Bax: 1883–1953", Music & Letters, January 1954, p. 6 November Woods calls for three flutes; piccolo; two oboes; cor anglais; three clarinets, one bass clarinet; two bassoons, one contrabassoon; four horns; three trumpets; three trombones; one tuba; two harps; timpani; cymbals; bass drum; glockenspiel; celeste; and strings. The analyst John Palmer comments that despite the large forces, Bax's orchestration is among the most subtle in his entire oeuvre: "In the opening moments, quivering woodwinds, harps, and muted strings present a delicately shifting array of colors".
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The Mike Oldfield version features David Bedford on lead and harmony vocals, piano and accordion, Mike Oldfield on rhythm guitar, bass guitar and multi-tracked lead guitar, Chris Cutler on drums, and Kevin Ayers on wine bottles. It was recorded in October 1974 at the Manor.V album liner notes, Virgin Records Side 2 is Oldfield's first version of "In Dulci Jubilo", a traditional German Christmas carol, and is not the better-known version which was later released as his next single. Mike Oldfield plays all instruments on this version, including woodwinds, and recorded it in November 1974 at the Beacon, his home studio.
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In 1967 he started the Paul Winter Consort, influenced by Heitor Villa-Lobos and other Brazilian music, to give ensemble playing and soloing equal importance, analogous to a democracy where every voice would count. He borrowed the name from English Elizabethan Theater of the 16th and 17th centuries when bands combined woodwinds, strings, and percussion, the same families of instruments he wanted to combine in his contemporary consort. With this group, he became one of the earliest creators of world music. Recordings of humpback whales in 1968 influenced his music and his desire to become an activist.
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Lyric Poem (1974), Mokranjac's best known orchestral piece, is quite similar to Intimacies and Echoes. It unfolds through a series of contrasting episodes unified by the same thematic core, characterised by a narrow range and based on the mode built out of alternating half-tones and tones (known as Rimsky- Korsakov's Mode, Scriabin's Mode, Messiaen's Second Mode, etc.) One may also notice elements of stylised folklore, both in the pastoral timbre of woodwinds, and in the quasi-vocal heterophony of melodic lines. Besides, Mokranjac employs self-referencing, by quoting a segment from his 1962 orchestral work Ouverture.
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The most widely played purely digital wind controllers include the Yamaha WX series and the Akai EWI series. These instruments are capable of generating a standard MIDI data stream, thereby eliminating the need for dedicated synthesizers and opening up the possibility of controlling any MIDI- compatible synthesizer or other device. These instruments, while shaped something like a clarinet with a saxophone-like key layout, both offer the option to recognize fingerings for an assortment of woodwinds and brass. The major distinction between the approach taken by the two companies is in the action of their keys.
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Most of his works would be songs for solo voice and instrumental accompaniment. His touch with instrumentation is noted for its impressionistic sensuality and soft textures, heavy on sustained notes by woodwinds and strings (particularly middle-range instruments, such as the clarinet and viola). The politically charged Canti di prigionia for chorus and ensemble was the beginning of a loose triptych on the highly personal themes of imprisonment and injustice; the one-act opera Il prigioniero and the cantata Canti di liberazione completed the trilogy. Of these, Il prigioniero (1944–48) has become Dallapiccola's best-known work.
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Her musical gift is typified by its ease of flow and elegance of structure. Vivacity, clarity of expression, and a natural feel for melody are her hallmarks. Arrieu composed concertos for piano (1932), two pianos (1934), two concertos for violin (1938 and 1949), for flute (1946), trumpet and strings (1965). She also wrote Petite suite en cinq parties (1945), "Concerto for wind quintet and strings" (1962), Suite funambulesque ("Tightrope Walker's Suite") (1961), and "Variations for classical strings" (1970). Among her important chamber music compositions are her Trio for Woodwinds (1936), Sonatina for two violins (1937), and Clarinet Quartet (1964).
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In 2014 she announced the upcoming release of her sophomore solo album Gondolier, with the full album due out on February 17, 2015. A number of the album's tracks were made available for download along with pre-orders, and the first single, "Azalea," debuted on December 4 on CMT Edge, with the publication calling it a "delicate beauty" with a "sleepy, contented feel... backed by a gentle accompaniment of woodwinds." A second song from the album, "The New Ground," premiered in December 2014 on PopMatters. Seven of ten tracks were produced by Robin MacMillan, and three were produced by Lawson White.
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Neither was staged, but both scores were performed in concert. L'envol d'Icare, based on the legend of the fall of Icarus, which Markevitch recorded in 1938 conducting the Belgian National Orchestra, was especially radical, introducing quarter-tones in both woodwinds and strings.'Icare' by Clive Bennett in Tempo No. 133/134 (September 1980), p. 45. (In 1943 he revised the work under the title Icare, eliminating the quarter tones and simplifying the rhythms and orchestration.) Béla Bartók once described Markevitch as "...the most striking personality in contemporary music..." and claimed him as an influence on his own creative work.
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The band was formed in 1970 in London, England. The original lineup consisted of saxophonists Robert Calvert and Hugh Eaglestone, drummer Malcolm Frith, bassist Dave Taylor, guitarist Graham Wilson, woodwinds player Thierry Rheinhardt, and vocalist Jo Meek. Jo Meek's time with the band was brief; she was replaced by her sister Anna by the time of the band's earliest live performances. The band was discovered by Cliff Cooper of the Orange Music Electronic Company, who took on managing Catapilla and arranged for them to appear in a showcase event in front of an invited audience of music industry figures.
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Templeton is a member of The Daniel Rosenboom Quintet, playing alto saxophone on the 2014 jazz-metal album Fire Keeper,Chris Barton, “Daniel Rosenboom’s ‘Fire Keeper’ full of imagination,” Los Angeles Times, May 5, 2014. and on Rosenboom's 2015 Astral Transference as part of the octet.S. Victor Aaron, “Daniel Rosenboom – Astral Transference and Seven Dreams,” Something Else, February 1, 2015. He played woodwinds as part of a 22-piece chamber ensemble on the 2015 album Three Kids Music by Gurrisonic Orchestra,George W. Harris, “Jose Gurria’s Gurrisonic Orchestra: Three Kids Music,” Jazz Weekly, October 29, 2015.
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The aria is in three sections. Bach wrote an aria accompanied by only an obbligato brass instrument again in his Missa of 1733 in B minor, composed for the court in Dresden and much later integrated into his Mass in B minor. The bass aria Quoniam tu solus sanctus, reflecting God's holiness and majesty, is set for corno da caccia, two bassoons and basso continuo. When he assembled the complete mass, he used an aria with only woodwinds to reflect the Holy Spirit in Et in Spiritum Sanctum, also a movement with many symbols of the Trinity.
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While most practitioners of this music are consciously avoiding the restrictions of any one particular genre, some generalizations can be made: This is a very instrumental music, showing its primary influences from the jazz and modern classical worlds: the most common instruments are horns, woodwinds, and strings. Guitars and percussion are also often used, though not usually in the rock n' roll style, and the use of electronics is very common. Vocals are somewhat rare, and recognizable lyrics are still rarer. Many of the practitioners are formally trained musicians, capable of playing conventional music with relative ease.
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The second concerto, while less virtuosic than the First Piano Concerto, shows far more originality in form. In this respect it reveals a closer link to Liszt's better known symphonic poems in both style and structure. Also, while the final version of the First Concerto could be considered a soloist's showpiece, the Second shows Liszt attempting to confirm his compositional talent while distancing himself from his virtuoso performance origins. Liszt is less generous with technical devices for the soloist such as scales in octaves and contrary motion; instead of an overbearing virtuoso, the pianist often becomes an accompanist to woodwinds and strings.
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This meant that he was free to score for unusual combinations of instruments, even instruments that are not commonly heard. In the opening sequence, for example, the tour of Kane's estate Xanadu, Herrmann introduces a recurring leitmotif played by low woodwinds, including a quartet of alto flutes. For Susan Alexander Kane's operatic sequence, Welles suggested that Herrmann compose a witty parody of a Mary Garden vehicle, an aria from Salammbô. "Our problem was to create something that would give the audience the feeling of the quicksand into which this simple little girl, having a charming but small voice, is suddenly thrown," Herrmann said.
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For the pop group formed with the name Zeitgeist in 1984, see The Reivers (band) Zeitgeist is an American contemporary classical music group based in Saint Paul, Minnesota. It was founded in 1977. Its instrumentation includes two percussion, piano, and woodwinds. The group has worked with and commissioned numerous composers, including John Cage, Yoko Ono, La Monte Young, Frederic Rzewski, Paul Dresher, Terry Riley, Anthony Gatto, Jin Hi Kim, Eric Stokes, Harold Budd, Daniel Lentz, Barbara Benary, Fred Ho, Martin Bresnick, Homer Lambrecht, Brent Michael Davids, Jack Vees, Pierre Jalbert, Arthur Jarvinen, Scott Lindroth, Mark Applebaum, and Beth Custer.
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His most successful songs of that time were the likes of "You'll Never Know," "Saturday Night Is the Loneliest Night of the Week," "They Say It's Wonderful," and "Mam'selle." In 1946 they recorded the album The Voice which was the first album with 8 ballads. His other songs as a composer such as "I Should Care" (1945), "Day by Day" (1946), and "Night after Night" (1949) were written with Paul Weston and Sammy Cahn. Stordahl was admired for his skills in framing Sinatra's voice, creating a soft, opulent sound with swirling strings, understated rhythms and woodwinds.
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At the beginning of the illustrated page from the score, for instance, the woodwinds and brass (notated at the top of the page) are playing short repeated passages. The composer specifies completely the music for each player, leaving the interpretation to the individuals: only the co-ordination between the parts is unspecified. The strings (notated at the bottom of the page) join the texture by sections: first the violins, then the violas, the cellos and lastly the basses, all playing rapid repeating figures. The string players do not coordinate their playing (even within sections) except for their entries.
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Luzerne Music Center (often shortened to LMC) is a summer music camp and performing arts center, founded in 1980, located on Lake Luzerne, in the Adirondack Park region of New York. LMC is located approximately four hours north of New York City and one hour north of Albany. Pre-college students who play strings, piano, brass, woodwinds or percussion live in residence at the camp, study music with members of the Philadelphia Orchestra and perform concerts for eights weeks of the summer. Additionally, LMC hosts a summer chamber music festival with performances by faculty members and guest artists.
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Fleet Foxes are an American indie folk and folk rock band formed in Seattle, Washington in 2006. The band consists of Robin Pecknold (vocals, guitar), Skyler Skjelset (guitar, mandolin, backing vocals), Casey Wescott (keyboards, mandolin, backing vocals), Christian Wargo (bass, guitar, backing vocals) and Morgan Henderson (upright bass, guitar, woodwinds, violin, percussion, saxophone). Led by singer-songwriter Robin Pecknold, the band came to prominence in 2008 with the release of their second EP Sun Giant and their debut album Fleet Foxes on Sub Pop. Both received critical praise and reviewers often noted the band's use of refined lyrics and vocal harmonies.
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However, the exhibits retained their colorful names, allowing visitors to surmise what they wished.: antiques disclosed as fake The room-sized assemblages of what appear to be mechanical musical instruments are partly illusion. Some of the instruments actually play, but the strings and woodwinds in particular do not; their sound is actually produced by organ pipes, while the moving instruments fool visitors. Today, the nature of the exhibits is disclosed, though perhaps not emphasized, by the management; for example, the current website notes, "All the armor featured in this elaborate collection was made for The House on the Rock".
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By the time The Aquabats began writing new material for their next studio album in 1998, the group had begun to feel pigeonholed by their public status as a "cheesy ska band" and consciously decided to start exploring more diverse musical styles rather than merely returning to a ska- based sound. As such, the band's third album, The Aquabats vs. the Floating Eye of Death!, marked an abrupt stylistic shift, completely abandoning the ska rhythms which dominated their previous albums in favor of more punk and new wave-influenced textures, emphasizing guitar and synthesizer-driven melodies over brass and woodwinds.
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Coleman is the resident composer of Imani Winds, though the ensemble also incorporates the work of other members and composers. Coleman's style mixes modern orchestration with genres as diverse as jazz and Afro-Cuban. She has added a number of works to the flute repertory, also contributing to the literature for wind quintet, full orchestra, woodwinds, brass, and strings, many of which have been published by International Opus. She often interposes music with the words of historical figures and poets, in some cases using manipulated speeches of people of diverse as Robert F. Kennedy, A. Philip Randolph and Cesar Chavez.
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Lissauer assembled a new group of musicians to join Cohen in the studio, including double bass player John Miller, as well as engineers Rip Lowell and Leanne Ungar. Lissauer brought a European tinge to many of the songs, adding a depth and richness by employing woodwinds, viola, and strings. The album is notable for its very dry mix, with reverb and echo used very sparingly. The album features several popular Cohen compositions, most notably "Chelsea Hotel #2" ("Chelsea Hotel", the precursor to "Chelsea Hotel #2", was only performed live and co-written by Cohen and his guitarist Ron Cornelius).
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Moving to Belgrade did not stop Tajčević in his teaching career, for in 1945 he became a professor of theory and composition at the Belgrade Academy of Music. Tajčević wrote music critiques from 1922 (while he was still in Zagreb), until 1955. They were published in magazines and newspapers such as Obzor, Rijec, Pokret, Vijenac, Jutarnji list, Zvuk, and Politika. After a considerably long and productive life Marko Tajčević died and was buried in Belgrade in 1984. Tajčević’s complete output totals fifty-four compositions, comprising works for solo voice, choir, chamber orchestra, strings, woodwinds, and piano.
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The Overture to an Italian Comedy for orchestra was composed in 1936 by Australian composer Arthur Benjamin; it was first performed in London on 2 March 1937, under the direction of Gordon Jacob. The piece opens fortissimo, presenting its first main subject in the woodwinds against pizzicato strings and creating a lively mood. The second theme is much softer, and is presented by a solo horn. Following this is a gayer melody for two flutes playing in thirds; this is soon taken up by the trumpets, who are instructed in the score to play in a "vulgar" manner.
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The score is Shostakovich's 39th opus. It includes references to Tchaikovski and other former ballet composers. Woodwinds: piccolo, 2 flutes (flute II = piccolo II), 2 oboes, cor anglais, Eb clarinet, 2 Bb clarinets, bass clarinet (= clarinet III), 2 bassoons, contra-bassoon (= bassoon III) Brass: 6 French horns, 3 trumpets, 3 trombones, tuba, Brass Band (1 Eb Cornet, 2 Bb Cornets, 2 Bb Trumpets, 2 Eb Altos, 2 Bb Tenors, 2 Bb Baritones, 2 Bb Basses) Percussion: timpani, triangle, tambourine, snare drums, cymbals, glockenspiel, xylophone, bass drum, gong, wood blocks Strings: violins, violas, cellos, double basses, harp 2 flute.picc. 2 oboe.corA.
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In 1942 the St. Louis Municipal Opera (The Muny) presented a new musical stage version. The script was adapted by Frank Gabrielson from the novel and uses most of the songs from the 1939 film. The 1942 production featured Evelyn Wycoff as Dorothy and Lee Dixon as the scarecrow.Sherman, p. 72 A new song was added for Dorothy to sing in the Emerald City, called "Evening Star", with lyrics by Mitchell Parish and music by Peter DeRose, and the music was newly orchestrated for a traditional pit orchestra instrumentation: woodwinds, brass, percussion, piano and strings, with a minimum of 22 musicians.
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The middle of the piece slows down, where the band sings accompanied by bowed vibraphone and pitched wine glasses. The opening theme of the movement is repeated in the woodwinds, while the remainder of the band sings "alleluia". After a short horn solo, the music of the gods and of heaven builds to a climax with a trumpet solo, which is then expanded on by the rest of the band. The music then speeds up again with the same horn motif, finishing with a climactic and dramatic crescendo to the final note, as Dante finally arrives in Heaven.
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A Pagan Poem is a tone poem for orchestra composed in 1906 by Charles Martin Loeffler. Originally scored for piano, woodwinds, violin, and contrabass, the work was rescored for two pianos and three trumpets. The final version, which, in addition to traditional forces includes piano, solo English horn, and three solo trumpets, was introduced on November 23, 1907, by the Boston Symphony under the direction of Karl Muck. Loeffler derived inspiration for the work from the eighth eclogue of Virgil, in which a maiden of Thessaly uses magic to revive her lover's ardor once he deserts her.
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During June, July, and August, BUTI offers 23 individual programs for strings, woodwinds, brass, percussion, harp, voice, piano, and composition. In mid- June, a series of two-week workshops are offered for flute, oboe, clarinet, bassoon, saxophone, French horn, trumpet, trombone, tuba and euphonium, percussion, violin, viola, cello, double bass, string quartet, and electroacoustic composition. Students attending these programs range in age from 14 to 20. A Junior Strings Intensive, introduced for the first time in summer 2017, is also offered during these two weeks and is for violin, viola, and cello students age 10–13.
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The texture is now more contrapuntal and polyphonic, and a fortissimo dynamic is maintained for several minutes, after reaching a final crushing dissonance, the music fades away to a single mysterious line doubled in the cellos and basses, which acts a transition into Part Two of the symphony, a central Adagio. The Adagio is the central heart of the whole work, and acts as reflective contemplation in the midst of violence and unrest. After a sonority presented in pianissimo in the woodwinds and cellos, the first and second violins enter, marked ppp in the high register.
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In 1946, he founded the Hurwitz String Quartet. In 1948 he became leader of the English Chamber Orchestra when it was first foundedat that time known as the Goldsbrough Orchestra. He was principal violinist of the Melos Ensemble 1956-1972. Their recordings of chamber music for both woodwinds and strings were reissued in 2011, including the works for larger ensembles which were the reason to found the ensemble, such as Beethoven's Septet and Octet, Schubert's Octet and Ravel's Introduction and Allegro, played with Osian Ellis (harp), Richard Adeney (flute), Gervase de Peyer (clarinet), Ivor McMahon (violin), Cecil Aronowitz (viola) and Terence Weil (cello).
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The symphony opens with a slow and grand introduction in D minor, whose first two bars are as follows: Opening bars of the first movement This leads to the main body of the sonata form movement, in D major. Its opening theme is as follows: Opening theme of the main portion of the first movement The movement is monothematic: the second theme is simply the first theme transposed to A major. The exposition is in D major, with the strings playing the first theme. The theme goes straight into A major with the woodwinds to form a second theme.
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Although the clarinet and saxophone both have a single reed attached to their mouthpiece, the playing technique or embouchure is distinct from each other. The standard embouchures for single reed woodwinds like the clarinet and saxophone are variants of the single lip embouchure, formed by resting the reed upon the bottom lip, which rests on the teeth and is supported by the chin muscles and the buccinator muscles on the sides of the mouth. The top teeth rest on top of the mouthpiece. The manner in which the lower lip rests against the teeth differs between clarinet and saxophone embouchures.
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Although they come from disparate sources, they are unified by their mystical inspiration and especially their concern about the place of humanity in the Cosmos. Each episode highlights a particular family of instruments. For instance, woodwinds and brass are prominent in De Vincent à Théo…, echoing the painter's use of colour while an accordion and strings, in particular a cello quartet, dominate in À Slava et Galina (that letter was addressed to legendary cellist Mstislav Rostropovich and his wife, soprano Galina Vishnevskaya). Danse cosmique, opens with timpani and pizzicato strings before the whole orchestra surrounds the singer.
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Bischoff has some fluency on a number of woodwinds (saxophone, clarinet), brass (tuba, trombone, trumpet) and stringed instruments (electric bass, guitar, ukulele, banjo, stand-up bass, cello, violin). As a composer, Bischoff is largely self-taught having attended part-time college classes on the topic and gaining experience by writing arrangements and compositions for fellow artists in the Seattle music scene. Music was also a family tradition. His father, who had studied music at the University of California, Davis with John Cage and Stanley Lunetta, had been in avant garde and experimental bands throughout the 1970s.
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"A Dream Return to Tang Dynasty" begins with some textural Chinese instrumentation before transitioning into a powerful introduction. Ding Wu's high-pitched vocal delivery, drawing influences from Beijing Opera, can be heard on the song's bridge, which features lyrics drawn from works by poets Du Fu and Fang Gan. "The Sun" is built around a modal riff heavily reminiscent of Xinjiangnese folk music, augmented by Middle Eastern percussion and ethereal backing vocals, before going into an anthemic half-time chorus. "The Moon Hangs High" is an gentle ballad that features prominent acoustic guitar and Chinese woodwinds.
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On the second floor are more cultural club activity rooms (not including woodwind and music clubs), and sleeping rooms for extended training sessions. These sleeping rooms, in addition to the koto club room and the cafeteria room, are also used by the sports clubs as extended training session lodging. There is a two-storey building in the corner of the school grounds which was formerly used as extended training accommodation. It is used for woodwinds club activities as well as by the kyūdō (archery) club as a site for making udon noodles for the annual school cultural festival.
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The school offered degree programs in Music Production, Music Business, Composition and Songwriting, Guitar, Bass, Keyboards, Brass and Woodwinds, Strings, and Liberal Arts. In the fall of 2009 the school opened the much-ridiculed "first nationally accredited diploma program for hip-hop".Tsukayama, Hayley (July 10, 2009) "Hip-hop with honors" Star Tribune Over the next several years, BA and MA degree programs were added to the school's academic offerings. The school's graduation and employment record was fairly unimpressive, but there are several ex-MSCM students who have carved out successful and creative lives in the music and audio world.
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The Band draws from 90-120 of Central Alberta's most ambitious young musicians to come together annually to create this community based marching show band. The Royals have members aged as young as 11 all the way up to 21 and they currently represent 20 School Band programs from the Central Alberta region. The members travel from many cities of Central Alberta, some as far south as Carstairs, Alberta, as far north as Edmonton, Alberta, as far west as Rocky Mountain House, and as far east as Stettler, Alberta. The band is composed of four groups; woodwinds, brass, percussion, and colour guard.
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" Christian Clemmensen of Filmtracks.com dismissed the score as a "lowest common denominator" effort, criticizing the excessive use of percussion over other instruments, such as woodwinds or chimes. He concluded by saying, "Ultimately, Zimmer was right. He was the wrong man for this assignment". James Southall, of Movie Wave, cited concerns with the score's over-reliance on a brass effect, dubbed "horn of doom" (made popular with the music from Inception) and wrote, "Man of Steel – the film – may not have the ambition of Inception – but it still has its unique musical needs, and they’re just not satisfied.
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Adams composed two versions of Dark Waves: one for two pianos and another for orchestra. The orchestral version calls for an ensemble comprising: ;Woodwinds :2 piccolos :2 oboes :2 clarinets in B :contrabass clarinet in B or E :2 bassoons :contrabassoon ;Brass :2 horns in F :2 trumpets in C :2 trombones :bass trombone :tuba ;Percussion, 2 players :bass drum :cymbal, suspended :tubular bells :2 vibraphones ;Keyboards :celesta :piano ;Strings :violins I (minimum of 12 players) :violins II (minimum of 12 players) :violas (minimum of 9 players) :cellos (minimum of 9 players) :double basses (minimum of 6 players) and electronics.
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After changing their name to Manfred Mann at the behest of their label's producer John Burgess, the group signed with His Master's Voice in March 1963 and began their recorded output that July with the slow, blues instrumental single "Why Should We Not?", which they performed on their first appearance on television on a New Year's Eve show. It failed to chart, as did its follow-up (with vocals), "Cock-a-Hoop". The overdubbed instrumental soloing on woodwinds, vibes, harmonica and second keyboard lent considerable weight to the group's sound, and demonstrated the jazz-inspired technical prowess in which they took pride.
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The opening chorus, "" (Why do you wish to trouble yourself), is a chorale fantasia, with the vocal part embedded in an independent concerto of the instruments. The cantus firmus on the melody of "" is in long notes, partly embellished, in the soprano and horn; the lower voices are mostly set in homophony. The lines of the chorale are not rendered separately, but accenting the bar form (Stollen–Stollen–Abgesang) of the text, 1 and 2 are combined, 3 and 4 are combined, 5 is single and 6 to 8 are combined. The scoring is relatively rich in woodwinds.
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The only disappointment among the soloists was Richard Stilwell, whose Pelléas was "less than sensuous, and nowhere near an expressive match for von Stade's Mélisande". The orchestra steered a judicious course between the Scylla of too much homogeneity and the Charybdis of too little, with sumptuous string tone and slender, piercing woodwinds. Herbert von Karajan's interpretation, a "great crescendo of inexorability", had been accused of unduly emphasizing the Wagnerian element in Debussy's musical personality against which the composer had struggled. However, it had been Debussy's ambition to paint a symphony of light and shade, and this was what Karajan's album provided.
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He used no trumpets and no high woodwinds when recording, but used up to eight french horns, five trombones, two piano, one harp, thirty-two violins, sixteen violas twelve cellos and eight basses. British performers UNKLE recorded a new version of the theme music for the end credits to the movie. Some of the unusual sounds were created by a variation of silly putty and dimes tucked in between and over the strings of the piano. Mark Snow also comments that the fast percussion featured in some tracks was inspired by the track 'Prospectors Quartet' from the There Will Be Blood soundtrack.
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The symphony is scored for piccolo, 3 flutes, 2 oboes, English horn, 3 clarinets, bass clarinet, 2 bassoons, double bassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, bass drum, tenor drum, snare drum, cymbals, tambourine, triangle, gong, glockenspiel, celesta, harp, strings. It is in three movements: #Moderato – Allegro con fuoco #Lento molto espressivo #Introduction (Lento moderato) – Scherzo & Trio (Allegro vivace – Andante semplice) – Epilogue (Lento) The first movement opens with a moderato ostinato on bass trombone with the woodwinds on top playing grinding, dissonant chords. The following allegro con fuoco section gives the ostinato to the violas, this time in diminution.
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Carlos Serrano (born August 29, 1963 in Bogotá, Colombia) is a recorder and early woodwinds player. He completed high school studies at Colegio San Carlos in Bogotá. After studying recorder at Oberlin Conservatory in Ohio and Mannes College of Music in New York with Philip Levin, and with Pedro Memelsdorff in Italy, he graduated from the Early Music Institute at Indiana University as pupil of Eva Legene and Michael McCraw. In 1988 he founded the early music ensemble Musica Ficta (Colombia), with which he has specialized in the performance of Latin-American and Spanish renaissance and baroque music.
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And in both works, the first theme is brought back in the recapitulation over passages in the strings that recall the fugal development. Third movement Although quite different in tempo and character, Bizet's scherzo makes several references to the Gounod's scherzo in the trio section. Both are variants of the opening theme and both are played on the woodwinds over a string pedal point. Final movement Beyond a general thematic sympathy between the two finales, Bizet directly imitates Gounod's closing phrase in his own work, drawing on the same rhythmic shape and architecture to create a miniature coda.
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Linden House Museum An official band was formed in 1889 and became fully funded in 1891. The band was formed as a mounted brass band, performing on horseback. The regiment's original marches were March past at walk – "The Dragoon Guardsman", March past at trot – "The Cavalier", and March past at gallop – "Bonnie Dundee". The Lancer Band remained attached to the Lancers Regiment through all of its renamings and formations, including service during World Wars I and II. In the 1980s the band transitioned from being a Brass Band to a Military Band, with the addition of woodwinds and electric instruments.
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First published 24 October 1956 in The New York Times. Fava and Vigano, 76 For John Simon, Nino Rota's music was one "of the most brilliant features of the film... The first [of its two main themes] is a soaring, romantic melody that can be made to express nostalgia, love, and the pathos of existence... Slowed down, [the second main theme] becomes lugubrious; with eerie figurations in the woodwinds it turns sinister. The quicksilver changes in the music support the changing moods of the story".Alpert, 87 The film was re-released internationally on the tenth anniversary of Fellini's death in 2003.
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With Collins were Tony O'Malley, Neil Hubbard, Mark Smith, Adam Phillips, Andy Hamilton, Paddy McHugh, Dyan Birch, Frank Collins, Bernie Holland, and Glen Le Fleur. Collins played woodwinds on the 2011 King Crimson ProjeKct 7, A Scarcity of Miracles, appearing on a King Crimson related album for the first time since 1974. In September 2013, Robert Fripp confirmed that Mel Collins would be a member of King Crimson again, the band being referred to as King Crimson VIII. Collins was also a member of Pete Haycock's reformation of the Climax Blues Band in 2013, prior to Haycock's death in October 2013.
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The third movement, a menuetto marked "allegretto" is similar to a Ländler, a popular Austrian folk dance form. Midway through the movement there is a chromatic progression in which sparse imitative textures are presented by the woodwinds (bars 43–51) before the full orchestra returns. In the trio section of the movement, the four-note figure that will form the main theme of the last movement appears prominently (bars 68–71), but on the seventh degree of the scale rather than the first, and in a minor key rather than a major, giving it a very different character.
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Also notable was Kuhn's inclusion in the quartet on the landmark recording Sound Pieces led by saxophonist, composer, and arranger Oliver Nelson and including Ron Carter on bass and Grady Tate on drums. Among other critically acclaimed recordings there was The October Suite composed by Gary McFarland for Kuhn and an ensemble which included strings, woodwinds, and reeds. The Promises Kept album features Kuhn's compositions, piano, and strings. For decades, Steve Kuhn has led all- star trios that have included such players as bassists Ron Carter and David Finck, and drummers Al Foster, Jack DeJohnette, and Joey Baron.
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Founded in 1964, the Victoria Conservatory of Music (VCM) is a music school in Victoria, British Columbia, Canada. The VCM has earned an outstanding reputation of quality in education, performance and music therapy. As a music school for the whole community, the VCM welcomes students of all ages and musical abilities, and teaches in all musical genres including classical, contemporary and music technology. Each year, over 4,500 students take part in an extensive array of disciplines including woodwinds, brass, percussion, keyboard, strings, voice, jazz, theory and composition, and programs such as music therapy, teacher training, early children’s music programs and Summer Music Academies.
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The score is among Stravinsky's most melodious. There is a wide dynamic range (reaching fortississimo, , at the moment when the Bacchantes dismember Orpheus); but mostly the orchestra plays quietly, seldom rising above mezzoforte. The size of the orchestra is very much "neo-classical"; like Beethoven, Stravinsky has scored for pairs of woodwinds (except that, like Beethoven in his 5th Symphony, he has added a piccolo to the two flutes). This economy in the scoring is, like the quiet dynamics that predominate in Orpheus, in stark contrast to the composer's The Rite of Spring of 35 years before.
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The cellos and double-basses start the first-movement sonata form in a tranquil mood by introducing the first phrase of the principal theme, which is continued by the horns. The woodwinds develop the section and other instruments join in gradually progressing to a full-bodied forte (at bar 58). At bar 82, the violas and cellos introduce the movement's second "Lullaby" theme in F-sharp minor, which eventually moves to A major. After a development section based mostly on motives of the principal theme group, the recapitulation begins at bar 302, with the second theme returning at bar 350.
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Fingers Crossed is the first studio album by Australian indie pop band Architecture in Helsinki, which was released on 9 February 2003 by independent record label, Trifekta. It is known especially for its gentle, high-pitched synthesizers and an ambitiously wide array of musical instruments, many unconventional and prominent. The instruments used include glockenspiel, woodwinds, xylophone, flute, four different kinds of guitar, trumpet, tuba, trombone, melodica, thumb piano, clarinet, recorder, bass, and various drums and percussion including hand claps, finger snaps, and the taps of tap shoes. It also uses a variety of voices, mainly in gender and age.
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In 2014, Waggoner signed a deal with Beijing-based label Pocket Records, and toured the entire country of China in partnership with Pocket Records for distribution of her albums Heal for the Honey and Go Easy Little Doves. During 2015, the Nashville-based chamber music ensemble CHATTERBIRD commissioned Waggoner to compose a piece consisting of instrumentation for woodwinds, strings, and piano entitled "Minor-Born". The piece debuted at Abrasive Media in May 2015 and a second time as part of the Sideshow Fringe Festival in July 2015. In January 2016, Waggoner's self- produced album Sweven released on her own label, Swoon Moon Music.
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His works Vind fer Vide and Blåsere i høyfjellet received EBU first prizes, while his Peer Gynt Suite was performed at the opening ceremony for the 1994 Winter Olympic Games in Lillehammer. Hurum's list of works also includes a number of chamber music pieces for woodwinds and brass. Hurum has contributed to a number of outings and released two solo albums Opus (1982) and Fata Morgana (1987). He has also performed his own compositions with his ensembles at the Molde and Kongsberg Jazz festivals as well as at the 1971 Montreux Jazz Festival with Clark Terry.
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29 "Cans and Brahms" is Wakeman's adaptation of the third movement of Symphony No. 4 in E minor by Johannes Brahms, with an electric piano used for the string section, grand piano for the woodwinds, organ for the brass, electric harpsichord for reeds, and synthesizer as contrabassoon. Wakeman later described the track as "dreadful", as contractual problems with A&M; Records, with whom he was signed as a solo artist, prevented him from writing a composition of his own.Morse, p. 29. Anderson described "We Have Heaven" as a "rolling idea of voices and things",Morse, p. 30.
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E♭ clarinets, alto clarinets, bass clarinets, and baritone saxophones are less common, but can be found in some bands. Bassoons and oboes are very seldom found on a field due to the risk of incidental damage, the impracticality of marching with an exposed double reed, and high sensitivity to weather. The brass section usually includes trumpets or cornets; French horns, alto horns, or mellophones; tenor trombones; baritone horns or euphoniums; and tubas or sousaphones. E♭ soprano cornets are sometimes used to supplement or replace the high woodwinds, while the mellophone often is used in place of the French horn.
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In order to fill the entire 26-episode run of the anime, new characters, new settings and new relationships between characters were made in order to increase dramatic tension, reinforce themes introduced in the manga, and introduce new themes that were compatible with the manga. While the manga deals more with existential themes, and humanity's relationship with space, the anime further expands the political elements of the story. The music of Planetes is a mixture of traditional orchestral music, supplemented by chorals, several uses of a theremin, and traditional Japanese woodwinds (e.g. Shakuhachi). The music score was composed by Kōtarō Nakagawa and produced by Victor Entertainment.
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The overall impression is of fragments of melody flying around in all directions, their individuality asserted by their being well spaced out in the texture, often by their contrasting orchestral colors. Minute melodic fragments, even sound dots of one-note jabs from woodwinds or pizzicatos from strings, add their own accents. The bold folksong-like tune in the central section could hardly be a greater contrast. #Rêves d'enfant: Andante molto sostenuto #:At first a reassuring lullaby, this music diverts into some of the most strange, even unnerving that Tchaikovsky would write in depicting the kingdom of sleep, with strange, delicate, fragmented textures with no recognizable harmonic foundation.
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The original music score was written by Danny Elfman, a frequent collaborator with director Tim Burton. Elfman's score is based around three primary themes: a gentle family theme for the Buckets, generally set in upper woodwinds; a mystical, string-driven waltz for Willy Wonka; and a hyper-upbeat factory theme for full orchestra, Elfman's homemade synthesizer samples and the diminutive chanting voices of the Oompa-Loompas. Elfman also wrote and performed the vocals for four songs, with pitch changes and modulations to represent different singers. The lyrics to the Oompa-Loompa songs are adapted from the original book, and are thus credited to Roald Dahl.
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The instrumentation of the Royal Artillery Band in Aldershot came largely from the Royal Artillery Brass Band (formerly under the charge of Lawson), and consisted of 8 cornets, 3 tenor horns, two baritones, 2 E-Flat bombardons, and 1 pair of kettledrums. To this, 5 woodwinds, including E-Flat 'clarionette' and piccolo were added. All of the musicians were required to become proficient on stringed instruments - a required condition that has remained in all Royal Artillery bands from 1887 to the current day. In 1897 the 'mounted portion' of the Royal Artillery Band was disbanded, leaving the Aldershot band to fulfil all remaining mounted ceremonial duties.
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Plagge has also focused on writing for wind instruments and has penned a number of works for woodwinds and brass in chamber settings. 1996 saw Plagge being bestowed with the Composer of the Year Award by the Trondheim Symphony Orchestra. In 2001 he received an ASCAP Award and he won the Vocal Nord’s composers competition in 2003. In 2007 he was the recipient of the Hungarian The international cultural order of knights of St. Stefan which is Hungary's highest civilian honor for his work on promoting Hungarian music and culture in the Nordic countries, as well as his work with the teaching technique of Zoltán Kodály.
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In 1988, Derome released his first solo album, Confitures de Gagaku, followed by six more over the next 14 years. Derome has composed scores for over 30 films, working with a number of Quebec film directors, including Michèle Cournoyer, Jacques Leduc, Pierre Hébert and Jean Detheux. He also wrote and choreographed a number of dance and theatre pieces in the early to mid-1980s, including Confitures de Gagaku (1985) for woodwinds, soprano, double bass, keyboards and percussion. Derome is a member of Nicolas Caloia's Ratchet Orchestra, which ranges in size from 15 to 30 musicians and has performed the music of Caloia, Sun Ra, and Malcolm Goldstein.
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This is in modified sonata form and lasts for around half an hour; there are the usual two contrasting subjects, but no development section, this being replaced by the 'invasion' theme. It begins with a rousing, majestic theme played by all the strings and later echoed by the woodwinds. The theme rises in pitch through the first moments of the piece, with octave-long runs in the strings. This is followed by a slower, more tranquil section driven by flutes and lower strings, which peters out only to be replaced — slyly — by the "invasion" march: a 22-bar, snare-drum-led, bolero-like ostinato that will pervade much of the movement.
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The first movement, approximately fourteen minutes, begins with a distinctive main theme that recurs in various manifestations. This theme is developed for about one minute and sets a heavy, uncertain air. After the introductory material concludes, the second, more lyrical theme is presented by violas and expanded by the woodwinds, displaying Dohnányi's talent for rich harmony and engaging orchestration. Although a generally quiet section, it is periodically accented with louder strings; the last accent does not fade and grows in expectation of a passionate high point, but is violently and abruptly interrupted by a burst from the brass and a subsequent use of snares.
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The vivace finale brings all these techniques into one, requiring the trombonist to exhibit advanced range, legato, double tonguing, and flexibility. Thus, the piece is limited to the best trombonists, although there have been numerous recordings by such famed players as Joseph Alessi, Christian Lindberg and Ian Bousfield. It is often considered to be the trombone (and euphonium) equivalent (in terms of required mastery of the instrument) to the Carnival of Venice for trumpet or cornet, by Jean-Baptiste Arban. American composer Leroy Anderson also wrote an orchestral arrangement giving a very clean and sprightly melody to the high strings and woodwinds, befitting the female speaker of the lyrics.
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In a rarity for TV sitcoms of the time, Bob was filmed, with a video assist for the directors and producers to monitor the show during filming. All the artwork in season one was done by storyboard artist Paul Power, who also appears as an extra in most of the comics studio scenes. The series' theme music was originally a full orchestral piece featuring a heavy horns and woodwinds sound, an arrangement very much in style of the Superman and Batman movies. The opening sequence that accompanied it featured Bob McKay at his artist's desk drawing, inking, then coloring a Mad-Dog comic as the credits appeared.
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Goths is the sixteenth studio album by the Mountain Goats, released on May 19, 2017, on Merge Records. The band has stated that Goths was inspired by an adolescence listening to The Cure, Bauhaus, Siouxsie and the Banshees, and Joy Division, as well as hearing songs on the radio station KROQ-FM. The album also marked the band's first release as a four-piece outfit, having added touring member Matt Douglas (keyboards/woodwinds) as a permanent fixture of the band following the By, For, and About the Trees Southeastern Fall Tour that supported their previous record, Beat the Champ. The album was critically acclaimed upon release.
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The shape of the resonator, however, is quite important: an inverted-conical resonator (such as is typical with a Trumpet rank) produces more harmonics than does a cylindrical resonator (like that of a Clarinet rank). There are generally two main types of reed stops: chorus reeds (such as the Trumpet, Clairon and Bombarde), whose main function is to blend with the flue stops and reinforce the full organ; and solo reeds or orchestral reeds (such as the Clarinet, the Oboe, and the Cor Anglais), which often (but not always) imitate orchestral instruments, and are used for quieter, solo passages (similar to woodwinds in an orchestra).
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In some marches, a short introduction to the trio is heard, often a repeat of the opening introduction, or it may be a different melody played by the whole band, a fanfare by the brasses—or a percussion soli (drum roll-off) as heard in "Semper Fidelis" by Sousa. Another example of a trio introduction is found in "Twin Eagle Strut" by Zane Van Auken. The third (or technically fourth or fifth) primary melody in a march is called the trio, which usually is the main melody of the march. It typically is played legato style in a softer dynamic and features woodwinds more than brass.
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Several of his other works, including his large-scale orchestral work, Harmonielehre, were inspired by similar visions. The piece is at times very delicate but makes full use of the dynamic capabilities of its large ensemble in the fast movements. The woodwinds remain quiet for most of the time, gently repeating the rhythmic pulses while the two pianos play waves of arpeggios. The three female voices (described in the notes to the full score of the work as "the sirens") sing wordless harmony, at some times singing very long slow triads over the chugging ensemble, at other times imitating the short fast notes of the winds and brass.
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Band of the 10th Veteran Reserve Corps, Washington, D.C. April, 1865 The early 1850s saw a growth in the development of brass band music. Brass bands were made up of brass and woodwinds, especially the E-flat cornet and soprano saxhorn. Many of these bands were associated with an Army regiment, while others were associated with the workers at a particular factory. Employers urging their employees to form bands were common in the United Kingdom at the time, and the practice spread through immigration to the US. These factory bands' concerts were probably rowdy affairs, with musicians and listeners dancing wildly with no spatial split between them.
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He reappeared in King Crimson in 1974 and intended to rejoin the band as a full member but did not get the opportunity to do so given Fripp's decision to split the band. He became a founding member of the band Foreigner in 1976, for whom he played guitar as well as his woodwinds and keyboards. He has been a session musician and appeared in the recording of the hit single "Get It On (Bang a Gong)" by T. Rex, and recordings by Linda Lewis, Christine Harwood amongst others. He also has some production credits to his name, including albums by Fruupp, Darryl Way's Wolf and Fireballet.
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After military service as a bandsman with the United States Marines during the Second World War, Beadell enrolled in the music program at Northwestern University in Evanston, Illinois, where his clarinet teacher, Dominick DiCaprio, encouraged him to study composition. At Northwestern his composition teachers were Robert Delaney and Anthony Donato, and he later studied with Leo Sowerby at the American Conservatory in Chicago, and with Darius Milhaud at Mills College. He first taught music theory and woodwinds at the Swinney Conservatory of Central Methodist College in Fayette, Missouri from 1950 to 1952, then joined the music faculty at the University of Nebraska in Lincoln, where he taught from 1954 to 1991 .
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This followed Joe Meek's ideas of sound creation in that, for as long as a sound is considered great, it does not matter how it is produced. The duo became confident enough to record a number of songs to take to different record labels. Pyramid Records took interest in the band and released their debut single, "(I Want to Love You Like a) Mad Dog", in mid-1969. Before Pyramid could release the band's projected second single, "Reggae Denny", the label went bankrupt. They added guitarist Steve Tayton on guitar and woodwinds in early 1970 and, following the departure of Fisher, Steve Johnson joined the band as the replacement bassist.
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The Sault Symphony School of Music was established by the Symphony in 1997, when a joint venture with Lake Superior State University allowed the Symphony to relocate world-renowned violinist, Oleg Pokhanovski, and his brother, Mikhail, an accomplished violist, to Sault Ste. Marie. The faculty of the School expanded over the years and eventually included nine instructors. Services were offered to children of all ages in guitar, violin, viola, cello, piano, voice, woodwinds, brass instruments, theory, harmony, and history. Many partnerships were forged through the School of Music allowing the Symphony to take innovative approaches to the music education of the youth in this community.
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Traditionally, drum and bugle corps consisted of bell-front brass horns, field drums, a color guard, and an honor guard. Drum and bugle corps have often been mistaken for marching bands, since there is a similarity to both groups having horns and drums; and they are both essentially bands of musicians that march. The activities are different in organization (marching bands usually associate with high schools and colleges while drum corps are freestanding organizations), competition and performance (marching bands perform in the fall at football games, drum corps usually compete during the summer), and instrumentation (drum corps use only brass bugles and drums, marching bands incorporate woodwinds and other alternative instruments).
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A student of jazz pianist Lennie Tristano, Russo wrote orchestral scores for the Stan Kenton Orchestra in the 1950s, including 23 Degrees N 82 Degrees W, Frank Speaking, and Portrait of a Count. He composed Halls of Brass for the brass section, without woodwinds or percussion. The section recording this piece included Buddy Childers, Maynard Ferguson and Milt Bernhart. In 1954, Russo left the Kenton Orchestra and continued private composition and conducting studies, then moved to New York City in 1958, where he led the 22-piece Bill Russo Orchestra. In 1962, Russo moved to England and worked for the British Broadcasting Corporation (BBC).
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For all these musicians, aged between 3 and 18 years, the Academy adds the discipline, excitement, and satisfaction of working in ensembles to the solo study of their instruments. To effectively support such an ambitious program, the Academy has established a full teaching structure providing instruction on the playing of strings, percussion, woodwinds, and brass instruments in an ensemble. The conductors and coaches are themselves all participants in the musical life of Ottawa, and many are also regular performers at the National Arts Centre. The students of the OYOA regularly perform in the Kiwanis Music Festival, as part of their regular ensembles and also in smaller ensembles, as well as individually.
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While at Berklee, Petersen introduced a guitar lab concept that transformed guitar education, particularly jazz guitar, with respect to sight reading and with respect to accommodating large numbers of guitar students. He created a big band composed of 12 guitars in three units of four – one unit would cover the woodwinds of a big band, one would cover the trombones, and one would cover the trumpets. The guitar players read single notes, just like horn players — no chords. Later, Petersen helped his colleague at North Texas, Rich Matteson, develop a similar concept for low brass, creating a big band composed solely of low brass instruments.
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Messner founded his orchestra around 1938, after 16 years performing with his four brothers as "The Five Messner Brothers" with himself as pianist, Johnny as violinist and clarinetist, Charlie (né Charles Messner; 1905–2003) (woodwinds), Bill (né William Messner; 1904–1982) on drums, and Fred (né Frederick Messner; born 1902) on violin. The Five Brothers made their radio broadcast debut in 1923 on NBC, then known as WJZ. The Five Messner Brothers and, from 1938 to 1941, the Dick Messner Orchestra, and after World War II, the Johnny Messner Orchestra, performed on national radio broadcasts and regionally around Pennsylvania, New Jersey and New York.
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Soviet massed military bands in the 1930s and 1940s tend to have a drum major, a conductor, and an optional two to three deputy conductors in the front of the band. Mounted bands had the same formation, but with only a director of music and the optionally mounted band drum major, only a few bands sported woodwinds. The Soviet military bands of the pre-war days played not only on May Day and Revolution Day but in the National Sports Day parades at the Red Square, the various sports competitions, and other occasions, and after the Second World War, at Victory Day celebrations across the USSR.
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During the American Civil War most Union regiments had both types of groups within the unit. However, due to changes in military tactics by the end of World War I field musical had been mostly phased out in favor of the brass bands - themselves the basis for today's American civil brass band culture and traditions. These performed in a concert setting for entertainment, as well as continued to perform drill and martial events. In the United States, these bands were increased in instrumentation to include woodwinds, leading to the modern military band traditions in the United States, and high school and college marching bands and concert bands.
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Satyagraha (; Sanskrit सत्याग्रह, satyāgraha "insistence on truth") is a 1979 opera in three acts for orchestra, chorus and soloists, composed by Philip Glass, with a libretto by Glass and Constance DeJong. Loosely based on the life of Mahatma Gandhi, it forms the second part of Glass's "Portrait Trilogy" of operas about men who changed the world, which includes Einstein on the Beach and Akhnaten. Glass's style can broadly be described as minimalist. The work is scored for 2 sopranos, 2 mezzo-sopranos, 2 tenors, a baritone, 2 basses, a large SATB chorus, and an orchestra of strings and woodwinds only, no brass or percussion.
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The DeBakey orchestra is composed of musicians from 9th through 12th grades selected after a rigorous audition process. The orchestra includes strings, woodwinds, brass, percussion and piano. The class is offered as part of the school's fine arts curricula, providing the students with the opportunity to earn fine arts and/or elective credits. As part of its partnership with Houston's Orchestra On Call, the DeBakey Orchestra presents concerts for patients, families and caregivers throughout the Texas Medical Center and other health care institutions, offering its students a purposeful way of sharing their musical talent with the community as well as providing them with an enriching outlet for artistic and emotional expression.
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Stokowski and the Philadelphia Orchestra at the March 2, 1916 American premiere of Mahler's 8th Symphony. The invention of the piston and rotary valve by Heinrich Stölzel and Friedrich Blühmel, both Silesians, in 1815, was the first in a series of innovations which impacted the orchestra, including the development of modern keywork for the flute by Theobald Boehm and the innovations of Adolphe Sax in the woodwinds, notably the invention of the saxophone. These advances would lead Hector Berlioz to write a landmark book on instrumentation, which was the first systematic treatise on the use of instrumental sound as an expressive element of music.Hector Berlioz.
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At this point, the band plays a rapid descending whole tone scale starting in the highest voices and ending in the lowest. # The fourth variation, marked Sostenuto, is much slower and is in 3/2 time with a rhythmic ostinato played by the timpani on a G♭2 (bottom line of the bass clef) using "hard sticks on muted head" to create a hint of ethnic drum sound. The theme is played by the woodwinds, and then the brass join in with a series of chords. # The fifth and final variation, marked Con Islancio ("with impetuousness"), is faster and begins with a long solo in the percussion section.
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In the first Canone, The Chord was dismantled but here the reverse will occur – The Chord will be rebuilt, starting on C, the lowest note, and gradually going upwards. Each entry consists of a long, arch-like melody. As each entry occurs, the central note of the previous entry becomes the basis of a bizarre, tapping ostinato underneath it, meaning that the note of the ostinato is a step on the chord behind the central note of the corresponding entry. By the end of this Canone, the chord has been rebuilt, ticking away on pizzicato strings and woodwinds as though imitative of a time- bomb, threatening to explode.
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Grafulla was born on 31 October 1812 on Menorca, an island off the coast of Spain that was occupied by the British after the Napoleonic wars. At the age of 28, he emigrated to the United States, where he became a French horn player in Napier Lothian's New York Brass Band in New York City. This band was attached to the 7th Regiment of the New York National Guard, which was honored in 1922 by John Philip Sousa's The Gallant Seventh march. In 1860, he added woodwinds to a reorganized band and continued to serve as its director until his death at New York on 2 December 1880.
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He seemed to have inhibited his singers from performing their roles in the way that they would have preferred to, and he had chosen some highly unorthodox tempi for no discernible reason. His eccentric speeds might not "actually distress" listeners, but neither would they help anyone to understand the opera more deeply. The album's engineering too was less than ideal, providing a convincingly theatrical stereo soundstage but offering an anachronistic "sleek and rounded" audio with a reverberant acoustic and a balance that favoured strings over woodwinds and instruments over singers. In sum, despite all its good ingredients, the album was not one that could be recommended.
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Ez Minzoku (Japanese for "Easy Ethnic") is a studio album by Japanese electronic music producer Takahide Higuchi, known in the United States as Foodman. Two tracks on the album, "Mid Summer Night" and "Minzoku," are from a previous record by Foodman titled Are Kore (2013). Ez Minzoku is a "MIDI glitch" record (categorized as such by Higuchi) that follows the same experimental style of Higuchi's other releases and consists of minimal arrangements of clean MIDI instruments such as horns, woodwinds, and human samples. It was released on May 13, 2016 by Orange Milk Records and Noumenal Loom to favorable reviews from critics and landed on numerous year-end lists.
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A subsidiary theme follows on woodwinds and is accompanied by a chugging rhythm on strings. The two themes are subsequently developed and eventually combined. However, a mournful bassoon then winds down the previous activity and there is a thought-provoking reappearance of the melancholic oboe theme from the first movement, as if to remind us again of the pains of war. After the meditation, there is a resumption of the threatening poundings of timpani and brass, this time accentuated with "wrong notes", and the symphony ends with a sardonic cry from high brass, juxtaposing F major with D major before the ultimate E-flat major chord.
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In 1934, Weigel removed all woodwind instruments from the marching band (flutes, clarinets, saxophones, etc.) The only exception to this was during World War II. From 1943–1945, director William McBride allowed woodwinds, vocalists, young, old, and even citizens of the campus community to wear the uniform and perform at home football games. The Regimental Bands continued to complement the Marching Band throughout the 1940s and 1950s. In 1952, the ROTC department, by directive of the Department of Defense, had to sever ties with the Marching Band program. This allowed the general membership of The Ohio State University to try out and become members of the Marching Band.
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According to Time magazine, the two composers drew very different interpretations from the piece, with Schuller's work consisting of a "snatch of serial music in which the orchestra beeped, squeaked and rasped like a rusty hinge while the muted brasses burped out shreds of sound" while Diamond drew on "more somber tones: muted, dark-hued movements of the strings, with the picture's more jagged lines delineated by scampering woodwinds and brasses." Larson wrote in New York Magazine (1987) that the image was then "embedded in childhood prehistory", commenting that it "always seemed to be taped to kids' bedroom walls, next to Rousseau's The Sleeping Gypsy".
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During the second half, another triplet accompaniment is introduced in the higher strings, while the melodies, played by the woodwinds, are made of syncopated 16th and 8th notes. (E-flat major) Variation 10: The final variation, which is when the "full image" of The Eroica is heard. Triumphant and heroic plunges are constantly heard on the tutti, with the triplet accompaniment from the previous variation still present, as the melody from the third variation, now victorious and energized, is heard on the brass. (E-flat major) The symphony ends with a coda, which takes image on all previous sections and variations of the movement.
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While in Los Angeles in 1974, he composed the piece Iron Cross for the woodwinds and percussion of the Los Angeles Philharmonic Orchestra. Upon his return to Sydney in 1977 he led a small ensemble with a shifting lineup which included, at times, Roger Frampton, Bob Bertles, Dale Barlow, Charlie Munro, Phil Treloar, Alan Turnbull and Tony Buck as sidemen. He led his own Bruce Cale Orchestra through the 1980s, recording three albums with the group. In 1981 he studied for a period in the U.S. with George Russell, and also premiered a double bass concerto, performing as the soloist with the Melbourne Symphony Orchestra.
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Double bass and piano: this section is marked Allegro pomposo, the perfect caricature for an elephant. The piano plays a waltz-like triplet figure while the bass hums the melody beneath it. Like "Tortues," this is also a musical joke—the thematic material is taken from the Scherzo from Mendelssohn's incidental music to A Midsummer Night's Dream and Berlioz's "Dance of the Sylphs" from The Damnation of Faust. The two themes were both originally written for high, lighter-toned instruments (flute and various other woodwinds, and violin, accordingly); the joke is that Saint-Saëns moves this to the lowest and heaviest-sounding instrument in the orchestra, the double bass.
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Towards the end of the century, reviewed Ellberg's reconstruction and published an "urtext" for Bärenreiter. Ellberg's reconstruction calls for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, tenor trombone, 2 bass trombones, timpani and strings. While Berwald gave clear indications for the woodwinds and strings, such as "detailed notations ... indicating when certain wind instruments play in unison with the respective string parts or in a different octave,"Anonymous, preface to Sinfonie Capricieuse. Melville, New York: Belwin Mills (1980): [i] in Swedish, [ii] in English where he wanted brass and/or timpani, Berwald would merely write the names of the instruments.
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John Eliot Gardiner describes it as "a dramatic scena in which the strings work up a storm to illustrate the raging of the soul's enemies". In sharp contrast the bass as the vox Christi (voice of Christ) sings the greeting of Jesus from verse 19 of the Gospel, "Peace be with you", three times, accompanied by woodwinds in dotted rhythm in 3/4 time, marked piano. Musicologist Julian Mincham describes the music as serene, a "gentle, rocking, almost cradle-like rhythm creating a perfect atmosphere of peaceful contemplation". The upper voices of the choir (without basses) answer to the music of the introduction, seeing Jesus as help in the battle ("").
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Another style of show band is that used by many of the Big Ten Conference marching bands, a semi-military and semi-corps style. These bands perform a show that is designed to entertain the audience but feature more traditional symphonic styles of music (marches, film scores, jazz, or older pop music) as well as some contemporary music. Big Ten style show bands have been influential in creating some of the earliest marching band innovations, and the style is used in high schools throughout much of the United States. Most show bands of either type include the traditional military band instrumentation of woodwinds, brass, and battery percussion.
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The exceptions included a recording with the Los Angeles Woodwinds of Mozart's Gran Partita, K.361, taped in Hollywood in August 1952, and the aforementioned Strauss disc with the Philharmonia Orchestra. His Pittsburgh recordings for Capitol, all made in the Syria Mosque, included concertos with Nathan Milstein and Rudolf Firkušný, as well as a cross-section of the symphonic repertoire from Beethoven to Wagner. Nearly all of Steinberg's Capitol recordings were reissued in a 20-CD box set by EMI in September 2011. In February 1960 Steinberg and the Pittsburgh Symphony moved to Everest Records, but by mutual agreement this contract was terminated after three releases since Everest abandoned their classical recording program.
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Retrieved on June 30, 2009. In 1928, Mills completed a new music building which was dedicated with a premier performance of Brescia's suite for piano and woodwinds. Brescia brought with him the favor of Elizabeth Sprague Coolidge, patron to modern chamber music, who subsequently subsidized various music department activities at Mills.The History of Experimental Music in Northern California. ESCoolidge. Retrieved on June 30, 2009. Brescia held his professorship until his death in 1939. Brescia had one daughter, Emma (1902–1968), who was married to American poet Robert Penn Warren during the period 1930–1951, then earned a Ph.D. from Columbia University in 1957 and began teaching foreign language at Mitchell College in New London, Connecticut, in 1963.
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In classical music, the term "Baroque" is used to describe the art music of Europe approximately between the years 1600 and 1750, with some of its most prominent composers including J. S. Bach and Antonio Vivaldi.Essentials of music: Baroque composers . Much of the instrumentation of baroque pop is akin to that of the late Baroque period or the early Classical period, chronologically defined as the period of European music from 1690 to 1760 and stylistically defined by balanced phrases, clarity and beauty,Oxford Music Online 2 using string sections, woodwinds and brass instruments. Baroque pop, stylistically, fuses elements of rock with classical music, often incorporating layered harmonies, strings, and horns to achieve a majestic, orchestral sound.
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The second point that musicologists have disputed about the first movement is the existence of two expositions. The symphony begins with soft calls in the horns, the first horn playing what becomes the main material of the A-group while the others play long notes below. The music has its own rhythmic character ("long-short-short-long") and is centred on the interval of the perfect fourth. This first theme continues in the horns and bassoons while increasingly the music is developed by the woodwinds playing sixteenth-notes in parallel third motion until the second theme is presented and eventually takes over in measure 9. It is agreed that the B-group begins by measure 18.
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The orchestration for A Christmas Carol consists of five woodwinds, one French horn, three trumpets in B-Flat (one doubling on flugelhorn), two trombones (the second doubling tuba), a drum kit, a percussion section, two synthesizers, one harp (doubling synthesizer) and strings. The first woodwind player doubles on flute, piccolo, clarinet in B-flat and soprano saxophone, the second on oboe, English horn, clarinet in B-flat and tenor saxophone, the third on clarinets in E-flat and B-flat, flute, piccolo, tin whistle and alto saxophone, the fourth bass clarinet in B-flat, flute and clarinet in B-flat, and the fifth on bassoon, clarinet in B-flat, flute and bass saxophone.
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Following the third modulation, the four brass ensembles, specified by Berlioz to be placed at the corners of the stage but more commonly deployed throughout the hall, first appear with a fortissimo E-flat major chord, later joined by 16 timpani, two bass drums, and four tam- tams. The loud flourish is followed by the choral entry, "Tuba mirum", a powerful unison statement by the chorus basses at the top of their register, followed by the rest of the choir. There is a recapitulation of the fanfare, heralding the coming of the Last Judgment ("Judex ergo") by the full choir in canon at the octave. The choir whispers with woodwinds and strings to end the movement.
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His personal favorite was Ralph Vaughan Williams. He would insist on always recording live with the band because it gave him a "certain feeling" to perform live surrounded by musicians. By the mid 1940s, such was his understanding of music that after hearing an air check of some compositions by Alec Wilder which were for strings and woodwinds, he became the conductor at Columbia Records for six of Wilder's compositions: "Air for Oboe", "Air for English Horn", "Air for Flute", "Air for Bassoon", "Slow Dance" and "Theme and Variations". The works, which combine elements of jazz and classical music, were considered by Wilder to have been among the finest renditions and recordings of his compositions, past or present.
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Fernand Gillet (15 October 1882 Paris, France – 8 March 1980 Boston)Massachusetts Death Index, 1970-2003 was a French and naturalized American oboist who is chiefly remembered for serving as the principal oboist of the Boston Symphony Orchestra from 1925 to 1946. He is also known for his work as a teacher of woodwinds at several prominent institutions in the United States and Canada. His Exercices sur les Gammes, les Intervalles et le Staccato is still a widely used instructional book for woodwind players at universities and conservatories. The International Double Reed Society holds an annual music competition named for him and a well known bassoonist: the Fernand Gillet-Hugo Fox International Competition.
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The modern orchestral standard of using soprano clarinets in B and A has to do partly with the history of the instrument and partly with acoustics, aesthetics, and economics. Before about 1800, due to the lack of airtight pads (see History), practical woodwinds could have only a few keys to control accidentals (notes outside their diatonic home scales). The low (chalumeau) register of the clarinet spans a twelfth (an octave plus a perfect fifth), so the clarinet needs keys/holes to produce all nineteen notes in this range. This involves more keywork than on instruments that "overblow" at the octave—oboes, flutes, bassoons, and saxophones, for example, which need only twelve notes before overblowing.
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For the release of his first album 3690 in October 2013, the Austrian piano manufacturer Bösendorfer endorsed Musa, providing him a special version of piano model 214 on the recording sessions in Taiwan. After the release, Musa toured extensively in South America, East Asia (Japan, China, Taiwan) and performed his own compositions as a member of the house band at the official Légère Jazz Jam of the Winter NAMM Show in Los Angeles in 2015, 2016 and 2017, alongside Grammy nominated artist Gerald Albright (Quincy Jones, Anita Baker, Phil Collins), George Garzone (New York University/Berklee College of Music woodwinds faculty), Jeff Kashiwa (The Rippingtons), showcasing the endorsed keyboards of his endorser, the Italian maker Studiologic.
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279-373) # Agitato (mm. 387-447) As in many of Carter's later works, the full 18-man chamber orchestra rarely plays tutti; instead the clarinet soloist takes part in a sequence of dialogues with subsections of the orchestra (piano, harp and pitched percussion in the first movement; unpitched percussion in the second (vibraphone, marimba); muted brass in the third; woodwinds in the fourth; strings in the fifth; open brass in the sixth; and tutti in the seventh), into which the rest of the ensemble interjects occasional commentary.Notes to the DG recording of the work. The concerto has received four commercial recordings; in addition to Damiens', recordings with Michael Collins, Simon Aldrich and Paul Meyer have also been released.
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Featured vocalists include Karlie Bruce, Christine Correa, Monika Heidemann, Sunny Kim, Jamie Leonhart, Michael Leonhart, Heather Masse, Sam Sadigursky, and Roland Satterwhite. The instrumentalists include Sadigursky (woodwinds/percussion/keyboard), Michael Leonhart (trumpets/percussion/keyboards), Gary Wang (guitar/bass), Jessie Reagan (cello), Chern-Hwei Fung (violin/viola), Richie Barshay (percussion), Michael Beers (English horn), Sunny Jain (tabla), Frank Basile (baritone saxophone), Sebastian Cruz (guitar/percussion), Roland Satterwhite (violin), Andrew McKenna Lee (guitar), and Dan Loomis (bass). Amongst the featured poets are Carl Sandburg, David Ignatow, Sadi Ranson, William Carlos Williams, Maureen McLane, Michael Lally, Emily Dickinson, Kenneth Patchen, and others. In 2013, Sadigursky followed up with Words Project IV, which solely features vocalist Christine Correa.
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In 1993, Roberts became part owner and operator of Fair City Dublin, an Irish pub and live music venue in Santa Monica. By this time the lineup of the band consisted of Roberts, Holmes, lead guitarist Randy Woolford, violinist Lovely Previn aka Alicia Previn (daughter of celebrated conductor André Previn ), woodwinds player Jeff Dellisanti, and drummer Jon Mattox, who replaced Douglas James. By now the band had played various venues throughout California, and as they became the house band at Fair City their popularity increased dramatically. In 1994, the act was signed to the Scotti Brothers record label, and they were teamed with producer Micheal Blum to record their debut album, the EP Rocky Road.
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The first compositions that brought him recognition were String Quartet #1 and the sonata for clarinet and piano – both written during his years as a student. The latter won the III prize in the contest of young Soviet composers, held in Moscow in 1969. Shortly after 1969, the chamber genre became the core of his compositions. The composer's wish to get out of the limits of the traditional chamber genre was obvious. It is enough to attentively look through the list of compositions to see beside the traditional string quartets, quartets for woodwinds (1972, 1974), trios of non-traditional composition for clarinet, violin and piano (1980), for violin, viola and cello, with vibraphone in part four (1990).
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A sheng player in a Chinese orchestra The woodwinds section of the modern Chinese orchestra consists of the bangdi (梆笛), qudi (曲笛), gaoyinsheng (soprano sheng; 高音笙), zhongyinsheng (alto sheng; 中音笙), diyinsheng (bass sheng; 低音笙), gaoyinsuona (soprano suona; 高音嗩吶), zhongyinsuona (alto suona; 中音嗩吶), and diyinsuona (bass suona; 低音嗩吶). Some pieces are also scored for the xindi (新笛), dadi (大笛), koudi (口笛), bawu (巴烏), xiao (蕭), hailuo (海螺), cizhongyinsuona (tenor suona; 次中音嗩吶), gaoyinguan (soprano guan; 高音管), zhongyinguan (alto guan; 中音管), diyinguan (bass guan; 低音管), or xun (塤).
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The album has received positive reviews. John Kelman, writing for All About Jazz, praises the new lineup, noting “… with the triple drum set arrangements, twin guitars, reeds and woodwinds, and bass and stick, all played by top- drawer musicians capable of respecting every song's formal construction while, at the same time, introducing interpretive variations and impressive solos, this is no tribute band; this is a Crimson… bringing the music firmly into the 21st Century.” Mark Hughes of Dutch Progressive Rock Page noted that “(t)he older material is perfectly interpreted/reinterpreted, but with a new vigour and purpose to proceedings. Jakszyk provides assured vocal lines and sounds uncannily like Wetton on the intro to ‘Easy Money’.
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The surviving published version of the musical score appears in the format of a simplified keyboard transcription using a two-staff system (treble and bass). It includes only occasional notations about the instruments used in the original full orchestral score, which has not survived. Therefore, musical elements from the original production such as inner harmonic parts, countermelodies, and accompaniment figurations are no longer known. Based on records of payments made to musicians at The Chestnut Street Theatre at the time of the premiere, it was likely that the production employed approximately 25 pieces, which may have consisted of pairs of woodwinds (flutes, oboes, clarinets, and bassoons) and brasses (horns and trumpets) as well as some timpani and strings.
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As noted in AllMusic review of the album, the album explores many types of ethnic music from throughout the globe, ranging from Celtic, Indian, Middle Eastern, Moroccan, Far Eastern and American folk music. The record as a whole was dubbed indie folk, indie rock, Celtic rock, alternative rock, and lo-fi by different professional music critics. Stevens himself has described the album's sound as incorporating "traditional pop music, medieval instrumentation with Middle Eastern inflections, tape loops, digital samples, literary vocals, manic percussion, woodwinds, sitar, amp distortion and Arabic chants."asthmatickitty.com Like many Stevens's albums that would follow, A Sun Came features a multitude of instruments ranging from banjo, sitar, oboe and xylophone.
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A preview concert performance in Toronto in February 2010 with the Corktown Chamber Orchestra led to another project which O'Donnell has composed for the orchestra, Quieter Trees. Quieter Trees is a group of six songs inspired by a painting by British artist David Hockney "Bigger Trees Near Warter". It was performed in London Morley College by the Centre for Young Musicians on 2 July 2011 and it will be performed in November in Toronto this time with O'Donnell playing piano. After having been introduced to Adam Donen in late 2011 the two decided to collaborate on a work for a small ensemble of violin, viola, two celli, French horn, woodwinds and two female voices.
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Recent guests include: Henning Kraggerud, Vadim Gluzman, James Ehnes, Colin Carr, Pinchas Zukerman, Nadja Salerno-Sonnenberg, Pekka Kuusisto, Yo-Yo Ma, Richard Stolzman, Wynton Marsalis, Christian Lindberg, Colin Currie, Jukka-Pekka Saraste, Gunther Herbig, Maxim Vengerov, Sir Andrew Davis, and TSO Music Director Peter Oundjian to name only a few. The TSYO is led by the TSO’s RBC Resident Conductor, Simon Rivard, and coached by TSO musicians Shane Kim (Violin), Peter Seminovs (Violin), Theresa Rudolph (Viola), Joseph Johnson (Cello), Paul Rogers (Double Bass), Miles Jaques (Woodwinds), Nicholas Hartman (Brass), and Joseph Kelly (Percussion). The youth orchestra has toured extensively within Canada and abroad. In 1999, the TSYO represented Canada at the Banff International Festival of Youth Orchestras.
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Despite the lack of a recording contract, the group still found itself in demand as a live act and played in clubs and at outdoor festivals. Tim Goshorn returned in 1982 and Mike Hamilton (vocals, guitars, from Kenny Loggins' band) also joined the same year and was there for 6 months (until mid-1982). Al Garth (vocals, woodwinds, fiddle, keyboards), another Loggins alumnus (Loggins & Messina, also Poco and Nitty Gritty Dirt Band), joined as well, from 1982 to 1985. Longtime drummer Billy Hinds retired from the road in 1984. He was first succeeded by Merel Bregante (also ex-Loggins & Messina and Nitty Gritty Dirt Band) and then by Joel Rosenblatt (1985–1986) and Steve Speelman (ex-Steele) (1986–1988).
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In 2000, Hornsby chronicled this journey with a compilation live album entitled Here Come The Noise Makers, and did extensive touring with his new band featuring John "J.T." Thomas (keyboards, organ), Bobby Read (saxophones, woodwinds, flute), J.V. Collier (bass), Doug Derryberry (guitar, mandolin), and several different drummers before Sonny Emory took over full-time. North Bethesda, Maryland, audience requests visible across keyboard His next studio album of new material was not until 2002: Big Swing Face. The album was Hornsby's most experimental effort to date; Big Swing Face, the only album on which Hornsby barely plays any piano, relied heavily on post-electronica beats, drum loops, Pro Tools editing, and dense synthesizer arrangements.
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Leone Buyse (born 1947) is the Joseph and Ida K. Mullen Professor of Flute and Chair of Woodwinds at Rice University's Shepherd School of Music. Prior to a full-time career teaching, Buyse spent over 22 years as an orchestral flutist, including a decade from 1983-1993 as Principal Flute of the Boston Symphony Orchestra and Boston Pops Orchestra. Other orchestral positions include Rochester Philharmonic as solo piccolo and second flute, and assistant principal of San Francisco Symphony. In addition to the Shepherd School, she has held faculty positions at the New England Conservatory, Boston University, University of Michigan, as visiting professor at the Eastman School of Music and numerous summer festivals including the Tanglewood Institute.
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The symphony is scored for an orchestra with the following instruments: ;Woodwinds :3 flutes (3rd doubling piccolo) :2 oboes :2 clarinets (in A) :2 bassoons ;Brass :4 horns :2 trumpets :3 trombones :1 tuba ;Percussion :timpani :bass drum :cymbals :tam-tam (ad libitum) ;Strings :violins I, II :violas :celli :double basses Although not called for in the score, a bass clarinet is commonly employed to replace the solo bassoon for the four notes immediately preceding the Allegro vivo section of the first movement, which originates from Austrian conductor Hans Richter. This substitution is because it is nearly impossible in practice for a bassoonist to execute the passage at the indicated dynamic of .
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48–53 The New York Public Library at Lincoln Center, Billy Rose Collection, has a rare tape of this broadcast. Years after this television broadcast and after the original teleplay had been unsuccessfully optioned as a non-musical Broadway play, director Albert Marre called Wasserman and suggested that he turn his play into a musical. Mitch Leigh was selected as composer, with orchestrations by Carlyle W. Hall. Unusually for the time, this show was scored for an orchestra with no violins or other traditional orchestral stringed instruments apart from a double bass, instead making heavier use of brass, woodwinds, percussion and utilizing flamenco guitars as the only stringed instruments of any sort.
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It was classified a "symphonic band" because it used extensive woodwinds such as flutes, clarinets, oboes and bassoons to replicate the sound of violins and cellos. During the 1960s, sometimes known as the "Golden Age of popular music," Laurentian was filled with music and drama. Memories of Vienna, one of the many concerts staged during this decade, was commended by Elisabeth Strauss, matriarch of the Strauss musical dynasty of Vienna. The Laurentian Symphonic Band travelled extensively to perform during the 1960s and 1970s, occasionally entertaining Canadian Servicemen in Europe. LHS toured Europe for 26 days in 1969 playing on Radio Nederlands and in the bandshell where the "Blue Danube" was first performed.
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Atmospheres exemplifies much of Ligeti's theory suspending harmony in favor of sustained sounds. The piece opens with a "fully chromatic cluster covering more than five octaves, held by strings and soft woodwinds", out of which various groups of instruments drop out successively, followed by various "strands of sonic fabric" reenter the composition, first white notes then black notes along with shifts in timbre and duration of notes that drive the piece forward.Charles Lockwood, "Musical Pluralism in the 1960s: Luciano Berio and György Ligeti " New York University in Prague website (posted 29 April 2003; Accessed 17 November 2010). Similar observations may be found in the liner notes to the CD album Wien Modern, Deutsche Grammophon 429 260–2.
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Azteca was a Latin rock band formed in 1972 by Coke Escovedo and his brother Pete Escovedo, who had just finished stints with Latin rock pioneering band Santana. Azteca was the first large-scale attempt to combine multiple musical elements in the context of a Latin orchestra setting, and featured horns, woodwinds, multiple keyboards, three vocalists, guitars, drums, and multiple Latin percussionists. Onstage, the band consisted of between 15 and 25 members, and toured with acts including Stevie Wonder. Other notable Azteca alumni included vocalists Wendy Haas and Errol Knowles, guitarist Neal Schon, trumpeters Tom Harrell and Eddie Henderson, bassist Paul Jackson, drummers Lenny White and John H. Brinck Jr., and percussionist Victor Pantoja.
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However, in contrast to Beethoven's exuberant conclusion, Shostakovich provides a pastoral rondo in which solo woodwinds again dominate. The movement begins with a passage for solo bassoon, and ends quietly with both pizzicato and sustaining strings; for some additional color, a solo flute joins in for the last note of the motive, at the very bottom of its range. The pizzicato material is an inverted version of the symphony's opening fate motif, and is connected by Haas to a similar passage for soprano voice in the fifth movement of Mahler's Second. Here, however, there is no resurrection: "The hero who announced himself using the voices of cor anglais and bassoon has not clearly triumphed, merely survived".
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In the 1960s and 1970s he recorded often and toured Japan, the United States, Canada, Latin America, Eastern Europe and the Soviet Union. Richter played and conducted a wide range of music (sacred works from Heinrich Schütz to Max Reger, as well as the symphonic and concerto repertoire of the Classical and Romantic periods – even including Bruckner symphonies), but is best remembered for his interpretations of Johann Sebastian Bach and Handel. Richter's performances were known for their soul-searching, intense and festive manner. He avoided the fluctuations in tempo that were previously characteristic of the prevailing Romantic manner of interpreting Bach, and devoted much attention to the woodwinds and to balance in general.
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The band originated in the late 1990s as a recording project of Serpa and drummer Steve Gonzalez. The band's name was taken from the title of an unreleased demo tape, Here Come The Sharp Things, which in turn was taken from a lyric to a never-recorded song, the title of which is now forgotten. Guitarist Santo (formerly of Jenifer Convertible), joined in 1997 and the trio adopted The Sharp Things as its name for performances at small clubs on the Lower East Side of New York City. The Sharp Things steadily added members over the next few years and began to broaden its musical palette with strings, horns, woodwinds, keyboards and other instruments.
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Retrieved 27 July 2010 A crucial early influence in Lautner's life was the construction of the family's idyllic summer cabin, "Midgaard", sited on a rock shelf on a remote headland on the shore on Lake Superior. The Lautners designed and built the cabin themselves and his mother designed and painted all the interior details, based on her study of Norse houses. In 1929, Lautner enrolled in the Liberal Arts program at his father's college – now renamed Northern State Teachers College – where he studied philosophy, ethics, physics, literature, drafting, art and architectural history, read the work of Immanuel Kant and Henri Bergson, played woodwinds and piano, and developed an interest in jazz.Olsberg, op.cit.
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For the same reason, some low clarinets, bassoons and contrabassoons feature a hybrid construction, with long, straight sections of wood, and curved joints, neck, and/or bell of metal. The use of metal also avoids the risks of exposing wooden instruments to changes in temperature or humidity, which can cause sudden cracking. Even though the saxophones and sarrusophones are classified as woodwind instruments, they are normally made of brass for similar reasons, and because their wide, conical bores and thin-walled bodies are more easily and efficiently made by forming sheet metal than by machining wood. The keywork of most modern woodwinds, including wooden-bodied instruments, is also usually made of an alloy such as nickel silver/German silver.
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The first movement has two contrasting themes, the first in dotted rhythm and initially hesitant and the second in B major (begun by the cellos), wide-ranging and expressive. These are, in turn, dissected and ornamented by the soloist with formidable virtuosity, using multiple-stopping and harmonics and, notably in the cadenza, the extreme upper register of the violin. The second movement, Preghiera (Prayer), is a short lyrical interlude in A major, with the orchestra woodwinds and horns given much prominence. It leads into the concluding Rondo, a colourful and vivacious piece with a contrasting episode in B major and demanding bravura playing, but without the first movement's extreme pyrotechnics (suggesting that it was composed earlier).
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In music from the era, especially in music hall and beer hall venues, tunes such as "Champagne Charlie" and "Ruinart-Polka" were very popular. The "Charles Heidsieck Waltz", after the pioneering Champagne producer, was an orchestral piece composed by Paul Mestrozzi which debuted in 1895 in honour of the Austrian emperor, accompanied by the presence of the wine itself. The term "champagne music" was a term used by bandleader Lawrence Welk to describe a style of music akin to easy listening that Welk performed with his band. Trademarks of the "champagne music" style include a light and upbeat tempo, muted brass instruments, accordions, woodwinds (especially clarinets), pizzicato strings, and frequent use of staccato.
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In 1978, Gates enjoyed success as a solo artist with the hit singles "Goodbye Girl" (#15; from the movie The Goodbye Girl) and "Took the Last Train" (#30). He then continued to tour with Botts and Knechtel as "David Gates & Bread", making TV appearances, including a guest shot on The Hardy Boys Mysteries which aired in November 1978. The group's 1978 touring line-up once again included Dean Parks for their June tour of the UK and Europe. By their fall dates back in the US, Parks had left and the stage lineup had expanded to include Warren Ham (ex-Bloodrock; woodwinds, keyboards, backing vocals), Bill Ham (guitars) and David Miner (bass).
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Musicologist Donald Tovey considered this introduction of new material to be "utterly subversive of the doctrine that the function of the opening tutti [the orchestral exposition] was to predict what the solo had to say." One hundred measures into the solo exposition, which is now in the relative major of E, the piano plays a cadential trill, leading the orchestra from the dominant seventh to the tonic. This suggests to the listener that the solo exposition has reached an end, but Mozart instead gives the woodwinds a new theme. The exposition continues for another 60 or so measures, before another cadential trill brings about the real conclusion, prompting a ritornello that connects the exposition with the development.
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The music builds to a climax, but then backs down for a final chorale in the woodwinds; the sound builds once again, and the piece concludes with a thundering chorale marked by liberal use of the chimes and tam-tam as well as soaring horn counterpoint. A typical performance of Russian Christmas Music lasts 14-16 minutes. As it was written to convey the sounds of Eastern Orthodox liturgical music, which uses the human voice exclusively, the entire piece must be played with some lyrical and singing quality. Slavonic Folk Suite is Reed's arrangement of Carol of the Little Russian Children (here called Children's Carol) and Cathedral Chorus for a younger, less experienced band.
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The full band returns with the fanfare before entering an aggressive section: the woodwinds play rapid alternating triplet patterns while the brass re-enter with an entirely new, even more menacing theme. This new theme reaches its climax and quickly repeats its first part before a rapid woodwind descent which sets the tone for the second part of the movement, "The Trojan Horse". Like in many of his pieces, Smith has used unusual percussion instruments and effects to achieve a certain mode and image. In this piece, he has instructed the cymbal players to grind the edge of one cymbal into the inner dome of the other, producing the sound of the squeaky wheel.
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The School is a part of Greenwich House, an organization started in 1902 as part of the settlement movement providing arts education and social service programs. Greenwich House Music School was started in 1905 by the Greenwich House founder, Mary Kingsbury Simkhovitch, as a place for immigrant children to learn music after school, and has grown into a community music, art and dance school for both children and adults. Today, approximately 40 faculty members teach a range of instruments including piano, strings, guitar, harp, percussion, woodwinds, brass and Suzuki Violin. In addition to music, the school teaches early childhood classes in music and art, as well as ballet for children 3.5–18 years of age.
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The first product was released in December 2002, including modules for strings, brass, woodwinds and classical percussion. In 2005 the company released their own sample player, the “Vienna Instruments” player, which during the music production on a PC (Digital Audio Workstation) runs in the plug-in formats AU, VST, AAX Native and RTAS under Mac OS X and Windows. The reverberation application was released under the brand name “Vienna MIR”. In March 2016, the Vienna Symphonic Library business offices moved into the new recording facility at Synchron Stage Vienna. VSL ushers in a new era in April 2017 with the release of “Synchron Percussion I” that was recorded at the newly revitalized scoring stage.
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The composer demonstrates brilliant skill in employing the piano and orchestra almost equally. In the Andante, he introduces a hymn-like theme with the woodwinds (also strikingly similar to the tune of the third symphony's final section), and uses this as a platform on which he builds a series of variations before bringing the movement to a quiet close. The Allegro vivace begins as a playful and cunning scherzo (although still in C minor), deriving its main theme from the original chromatic subject in the beginning of the first movement. There is a bold switch to 6/8 time, and the piano leads the orchestra into a new brief but energetic theme.
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In 2008, he was awarded the ASCAP/IAJE Established Composer Award, and in 2009 he was commissioned by the Barents Composers Orchestra to write a piece for strings, woodwinds, and percussion: Daytonality, a piece based on improvisational melodic language. Hagans is the subject of the feature documentary Boogaloo Road, directed by Runar Enberg and Marianne Soderberg. He is a featured soloist on Howard Shore's soundtrack for the feature film The Score starring Marlon Brando, Edward Norton, and Robert De Niro. Following his interest in exploring theatrical venues for innovative jazz, he is Composer- in-Residence with the Michele Brangwen Dance Ensemble, a dance company located in Houston, Texas, and in New York City.
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The Missa Votiva is a mass composed by the Czech Baroque composer Jan Dismas Zelenka in 1739, Dresden. The Missa Votiva is about seventy minutes long, and its twenty parts range from forty-five seconds to over seven minutes in length. Most of the composition is very festive and played with vivacity, the last movement being set to the tune of the first and many of the other arias being in a major key. Zelenka scored this work for a standard Baroque orchestra of strings, woodwinds and brass instruments, with the choral parts sung by a choir featuring several soloists who sing their own arias besides the parts for the whole choir.
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She also held the post of solo harpist in the Darmstadt Opera for 5 years, before ultimately returning to Holland. She has been the principal harpist of the Royal Concertgebouw Orchestra, Amsterdam since 2003, and has worked with conductors such as Mariss Jansons, Riccardo Chailly, Bernard Haitink, Lorin Maazel, Nicolaus Harnoncourt and Zubin Mehta. Also active in the field of chamber music, she has given concerts in many combinations of instruments; for example Brass and Harp, Harp with Strings and Voices, and Harp with Woodwinds. She always tries to encourage composers to write new works for harp and has played in several different Festivals for modern music in Germany, like Donaueschingen and Darmstadt (Ferienkurse für neue Musik).
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These eight notes provide the principle theme ("Kremer theme") for the first movement and re-appear elsewhere in the concerto, particularly the final movement. Schnittke uses a similar technique to include a musical monogram of his own name: A – F – E – D – S – C – H – E (in German notation S corresponds to E and H corresponds to B) in the music of this movement. The first movement is largely based on alternations between the Kremer theme and another warmer theme, introduced immediately after the Kremer theme's first appearance by woodwinds and horn, played initially in A major before shifting towards a darker C minor. The second movement, marked Vivo (lively), contrasts strongly with the first.
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A conservator will need to examine the structure of the instrument to see if stress cracks from the tension of the strings have begun to develop. # Musical Bows # Harps # Lyres # Lutes # Zithers Aerophones - Aerophones are instruments that require air passing through, or across, them to create sound. Most commonly constructed of wood or metal, a conservator will need to examine the innards for mold or debris that will prohibit air from passing easily through the instrument. # Brasswinds - The most commonly known is the trumpet # Woodwinds - The most commonly known is the flute # Free-Reed - The most commonly known is the accordion # Free - Free instruments are unique to the aerophone category due their reliance on air passing around the instrument, rather than through it.
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The last of these, the eighth note, dominates the first half of the piece, occurring in at least one instrument in every measure. In the second half of the piece, quarter and half notes dominate, and there is a quarter-note triplet in one measure.Whitacre, Eric. October. 2000. One particularly difficult measure toward the end of the piece has a beat incorporating a complex cross-rhythm: the low brass and low woodwinds play an eighth-note triplet with sixteenth notes on the last beat; the 3rd B clarinets play four sixteenth notes; the 2nd B clarinets play five sixteenth notes; the oboes play six sixteenth notes; and the 1st B clarinets, the E clarinet and the flutes play seven sixteenth notes.
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The band was formed as a 10-piece group by Michael League in Denton, Texas, after his second year at the University of North Texas, in 2004, “Because I was so bad,” he recalled, “I didn’t place into any of the school ensembles. So Snarky Puppy was my way of getting to play.” The group has grown into an international super-band made up of "...a wide-ranging assemblage of musicians known affectionately as "'The Fam"." In more than 15 years since its founding, about 40 players have performed in "The Fam" on guitar, bass, keyboards, woodwinds, brass, strings, drums, and percussion, but six of the 10 members on the first studio album The Only Constant remain on the regular roster.
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A few of the many hardware (Yamaha, Roland, Akai, Kurzweill, Aodyo) and software (Native Instruments, Garritan, SampleModeling, Sample Logic, LinPlug, Audio Modeling) synthesizers provide specific support for wind controllers, and they vary widely with respect to how well they emulate acoustic wind, brass, and string instruments. The SWAM technology, devised by Audio Modeling, has specific settings for Yamaha, EWI, Sylphyo and Aerophone wind controllers and has succeeded in producing very rapid natural responsiveness with their woodwinds and bowed strings virtual instruments. Also Samplemodeling has specific settings for wind controllers on their Kontakt-based brass. That said, virtually all current synthesizers respond to MIDI continuous controllers and the data provided by wind controller breath and lip input can usually be routed to them in an expressive way.
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He changed the second movement to a choral movement by embedding vocal parts in the music, but this time without additional woodwinds. Brian Robins commented: > The opening chorus is superimposed onto the deeply moving slow movement of > the concerto, the anguish of the repeated (ostinato) bass line ideally > underlining a text concerned with the tribulation that must be endured > before the kingdom of heaven is attained. Musicologist Julian Mincham describes the process of changing a harpsichord concerto movement to a chorus with obbligato organ in detail: > The original thirteen-bar throbbing ritornello theme is retained but its > function has changed. The voices soar above it from the very first bar and > continue to enhance it throughout its six appearances in different tonal > environments.
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As a teenager, Hambro pestered his father for a trumpet, but it was his brother-in-law, Harold Segal (older sister Adelaide's husband), who introduced 15-year-old Hambro to woodwinds, giving him a soprano saxophone and introductory music lessons. (Harold Segal played both the tenor saxophone and clarinet semi-professionally with an Irish band for a time.) By all accounts, Hambro quickly eclipsed his brother-in-law, taking every music class in which he could enroll. As a high school student, Hambro took private lessons from Bill Sheiner, one of the leading music teachers and session musicians in New York City. Sheiner taught in a studio behind the Bronx Musical Mart at 174th Street and Southern Boulevard, between Lenny's school and home.
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Standard Wonder-The Music of Stevie Wonder (A-Records) was voted one of the top 10 jazz CDs of 2001 by Bob Blumenthal of the Boston Globe and Bill Milkowski of Jazz Times and received 4 stars from Downbeat magazine. Pietro's fifth CD Embrace: Impressions of Brazil (2004 A-Records) "is a triumph ... one of the most satisfying Brazilian jazz mixes since the first bossa nova tsunami" according to Judith Schlesinger of AllAboutJazz.com. Dave was selected as a semi-finalist for the first two Thelonious Monk Institute of Jazz International Saxophone Competitions (1991 & 1996) and was a finalist in the 1995 JAZZIZ Magazine "Woodwinds on Fire" talent search. In 1996 he was the recipient of a grant from the National Endowment for the Arts.
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Some of the most used DSP models were the analog model (based on the classic osc+filter+amp scheme, although with many powerful enhancements), the VPM model (a form of FM synthesis which avoided Yamaha's FM patent) and the physical modeling algorithms. The latter deserves special mention. In the mid to late 1990s, it was believed that physical modeling, which recreated the sound of acoustic instruments (brass, strings, woodwinds, etc.) using DSP algorithms instead of samples, would eventually replace sample-based synthesis of those instruments, because of its unprecedented realism and expressiveness . As time passed, physical modeling seemed to lose its appeal to both manufacturers (because of the cost of investigation and implementation) and final users, who complained about the realism of the models and limited polyphony .
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After a few measures the verses resume, but with a quieter, melancholy atmosphere: one verse is sung along with bass, guitar, and strings, and then without a choral break a final verse is sung to bass, guitar, and woodwinds. During those last verses, the "Soldiers of God" had done well defeating the enemies, for the aid of their country, however, the returning soldiers return, with tears in their eyes, having second thoughts about their mission. One of the returning soldiers feels more disturbed, with the smells of death, when he looks upon the Sky Pilot, remembering the commandment: "Thou shalt not kill". Finally a strong bass line announces the return of the chorus, now accompanied with strings, horns and piccolos, repeated several times as it fades.
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The prominent feature of instrumental pairing does not lead to any permanent thematic or textural stability, but contrarily grows into a persistent textural sparseness. After an emotionless string passage which encloses another brief warning from violas, woodwinds cry out amid a percussive background.; see also While the monotonous rhythm of snare drum continues, violins respond tortuously, only to be overwhelmed by the mood of the "savage and destructively egotistical" (Simpson’s description) clarinet and flute.; The turmoil continues as the bass struggles to rise from the tonic (C) to the dominant (G), invoking a new clash with the percussion; the attempt at struggle fails as the bass is foiled at G flat when the ominous violin melody is distorted and disintegrates.
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Seán Mac Erlaine (born 30 July 1976) is an Irish musician and composer specialising in woodwinds and electronics. He studied jazz performance in Newpark Music Centre under Ronan Guilfoyle where he also taught for a number of years before completing his formal education at Dublin Institute of Technology where he was awarded a Masters in Jazz Performance as well as a PhD focusing on solo woodwind performance with live electronics. He plays alto saxophone, clarinet and bass clarinet which he often processes through software created with Max/MSP. He has performed with leading musicians including Jan Bang, Bill Frisell, David Toop, Ernst Reijseger, The Smith Quartet, Hayden Chisholm, Eivind Aarset, Caoimhín Ó Raghallaigh, Ronan Guilfoyle, Iarla O'Lionaird, Valgeir Sigurðsson, Damo Suzuki and The Gloaming.
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Reich noted that this piece was developed out of two pieces he had previously written, Music for Mallet Instruments, Voices and Organ and Music for 18 Musicians. The piece was written for more musicians than Reich had previously worked with, and included instruments from all sections of the orchestra, including strings, woodwinds, brass and percussion, and female voices. The piece is divided into four sections, each marked by a key change initiated by the metallophone. As in some of his other works from the same time, Reich uses the technique of augmentation in this work, whereby short, rapid phrases are stretched out to become longer lines, which combine contrapuntally with other melodies, then using diminution they are returned to their shorter length.
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The Notre Dame Band maintains close ties with all of the Notre Dame Band Alumni through a variety of communications including frequent newsletters. The Notre Dame Band Alumni are invited back to Notre Dame to perform with the student Notre Dame Band during a Notre Dame home football game approximately once every 4 years since 1985. On Saturday, October 13, 2018, almost 400 Notre Dame Band Alumni returned to practice, march, and perform with the student Notre Dame Band during the halftime show at the Notre Dame vs Pittsburgh football game for a sold-out crowd. The Notre Dame Band Alumni participant graduation years ranged from 1952 to 2017, and included 8 drum majors, 70 percussion, 200 woodwinds, and 190 brass.
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After the failure of their first two albums and an unsuccessful tour, Supertramp broke up; Rick Davies and Roger Hodgson recruited new members, drummer Bob C. Benberg, woodwinds player John Helliwell, and bassist Dougie Thomson. Their record label A&M;, in particular A&R; man Dave Margereson (who would become their manager for the next ten years), sent this new line-up to a seventeenth- century farm in west Dorset in order to rehearse together and prepare the album. The album was recorded at several studios, including Ramport Studios (owned by The Who) and Trident Studios, with co-producer Ken Scott. While recording the album, Davies and Hodgson recorded approximately 42 demo songs, from which only 8 were chosen to appear on the album.
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Before the band was named Blowzabella some of them played occasionally with Paul James (bagpipes, woodwinds), Juan Wijngaard (hurdy- gurdy), Peter Lees (Hammered dulcimer) and Cliff Stapleton (recorder, hurdy- gurdy). The band's name was taken from an English jig "Blowzabella" and bawdy drinking song "Blowzabella My Bouncing Doxie", popular in the late 17th century and early 18th century. The band discovered the tune while researching for bagpipe repertoire in the Vaughan Williams Memorial Library. The name, with its combination of "blow" and "bella", summed up the band's sound. In late 1979, Bill O'Toole returned to Australia and Dave Roberts (melodeon, percussion) joined the group. In 1980, Dave Armitage left the band and Paul James (bagpipes, woodwind) and Cliff Stapleton (hurdy-gurdy) joined.
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Mozart's piano concertos are filled with assured transition passages, modulations, dissonances, Neapolitan relationships and suspensions. This technical skill, combined with a complete command of his (admittedly rather limited) orchestral resources, in particular of the woodwinds in the later concertos, allowed him to create a variety of moods at will, from the comic operatic nature of the end of K. 453, through to the dream-like state of the famous "Elvira Madigan" Andante from K. 467, through to the majestic expansiveness of his Piano Concerto No. 25, K. 503. In particular, these major works of Mozart could hardly fail to be influenced by his own first love, i. e., opera, and the Mozart of Figaro, Don Giovanni and Die Zauberflöte is found throughout them.
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The band began in 1969 as "Project Soul", formed by Louis A. McCall Sr. (drums/percussion/vocals) and Michael Cooper (rhythm guitar/lead vocals), both of whom were high school students in Vallejo, California. By 1971, the band also included bassist Cedric Martin, keyboardist Danny "Sweet Man" Thomas, trumpeter Karl Fuller, and woodwinds player Paul "Maceo" Harrell. Soon thereafter, this fledgling group's classic lineup became complete when lead vocals/multi-instrumentalist Felton Pilate came on board. In 1971, the seven musicians formed a new band, calling themselves "Con-Funk-Shun", after a song by the instrumental ensemble The Nite-Liters. They relocated to Memphis, Tennessee in 1973 when they were hired to back up Stax Records artists The Soul Children.
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We Are King is the debut full-length album from King, following their 2011 release of The Story EP. The independently recorded and produced album contains 12 tracks, including extended mixes of the three songs from The Story EP; "The Story", "Supernatural", and "Hey". We Are King was recorded between 2011 and 2015 at King Creative, the Strother sisters' home studio in Los Angeles, California. The album was written by the three members, and features production and instrumentation by Paris Strother, with additional instrumentation by Kyle Bolden (guitar), Thomas Lea (strings), and The Regiment Horns (brass & woodwinds). The album was engineered and recorded by Paris Strother, with additional engineering by Morris Hayes (lead vocals on "Supernatural") and Nathaniel Alford (lead vocals on "Hey").
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Rechtman has conducted many of Israel's major orchestras, such as the Israel Philharmonic Orchestra, Jerusalem Symphony, Sinfonietta Beer-Shiva, Kibbutz Chamber Orchestra, Tel-Aviv Academy of Music Orchestra, Israel Camerata Orchestra Jerusalem and many other ensembles. In 1976, he was named head of the woodwinds in the orchestra by Music Director Zubin Mehta. Rechtman has written transcriptions and arrangements for wind quintet, wind instruments and large wind ensembles. His talent as an arranger has been highly acclaimed, and his arrangements for wind ensembles (numbering more than 200 ) have been performed around the world, often under his own direction. Rechtman’s arrangements have been published by various publishers including Edition Wilhelm Hansen, Belwin Mills Publishing Corp, June Emerson Wind Music, Accolade Musicverlag and McGinnis and Marx.
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Rutter's music is eclectic, showing the influences of the French and English choral traditions of the early 20th century as well as of light music and American classic songwriting. Almost every choral anthem and hymn that he writes has a subsequent orchestral accompaniment in addition to the standard piano/organ accompaniment, using various different instrumentations such as strings only, strings and woodwinds or full orchestra with brass and percussion. Many of his works have also been arranged for concert band with optional chorus. Despite composing and conducting much religious music, Rutter told the US television programme 60 Minutes in 2003 that he was not a particularly religious man yet still deeply spiritual and inspired by the spirituality of sacred verses and prayers.
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In 1971 Allen recorded and released his first solo album, Banana Moon (sometimes spelled Bananamoon) for BYG Actuel. It did not feature his original 1968 Bananamoon Band rhythm section, but did feature Robert Wyatt, Gilli Smyth, Gary Wright, Pip Pyle, Maggie Bell and many others. Gong's lineup stabilized with Pip Pyle (drums) joining Daevid Allen (guitar & vocals), Gilli Smyth (vocals), Christian Tritch (bass) and Didier Malherbe (woodwinds). This group performed on the soundtrack to the film Continental Circus, poet Dashiell Hedayat's Obsolete and Gong's nominal second studio album, Camembert Electrique. In October, Allen, Smyth and the rest of Gong moved into an abandoned 12-room hunting lodge called Pavilion du Hay, near Voisines and Sens, 120 km south-east Paris.
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In the recapitulation, Villa-Lobos seeks to create contrasting colouration from the way the thematic material was originally presented in the exposition. For example, in the opening bars, the first theme is given to the woodwinds (later joined by horns and cornet), and the strings accompany with a semiquaver figure; in the recapitulation, the second violins and violas have the theme, accompanied by the semiquaver figure in clarinet and bassoon . The movement can also be seen as a sort of modified rondo form (ABCDA'B' plus coda), in which the D section is essentially episodic. However, the two occurrences of the refrain (A) are in the dominant and supertonic keys of G and D, and the overall tonic key, C, is reached only in the concluding coda .
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He attributes his love and of music and inspiration to his father, Joseph, and their many years of listening to Sinatra, R&B;, Soul, and Country music on their Emerson clock radio. His grammar school music teacher, Fredrick Torregrossa, also had a direct influence by encouraging Augeri to develop and improve upon the potential of his voice and by casting him to sing Puccini's "La Donna Mobile" in the school's 4th grade musical. Initially studying woodwinds at New York City's High School of Music and Art, Augeri switched to bassoon and soon discovered his love for classical music. Attending, and then teaching at, French Woods Festival for the Performing Arts summer camp, he supervised children from ages 6–16 for their Rock Band classes.
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Two years later he was selected by Steinway & Sons as one of 25 artists to perform at Carnegie Hall in the celebrations of the firm's 135th anniversary as well as its 500,000th piano. Dr. Chien has performed in solo recitals, chamber music and concertos on four continents, in countries such as Australia, Austria, China, Greece, Hong Kong, New Zealand, Poland, Spain and Taiwan. Among the major orchestras with which he has been concerto soloist are the Philadelphia Orchestra, Pittsburgh Symphony, St. Louis Symphony, Utah Symphony, Atlanta Symphony, Buffalo Philharmonic, New Zealand Symphony, American Symphony and Hong Kong Philharmonic. In chamber music, he has collaborated with the Alexander String Quartet, the Cavani String Quartet, the Ariel Woodwinds Quintet, members of the Philadelphia Orchestra and the New York Philharmonic.
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In Beethoven's and Felix Mendelssohn's time in the 19th century, the orchestra was composed of a fairly standard core of instruments which was very rarely modified. As time progressed, and as the Romantic period saw changes in accepted modification with composers such as Berlioz and Mahler, the 20th century saw that instrumentation could practically be hand-picked by the composer. Saxophones were used in some 20th- century orchestra scores such as Vaughan Williams' Symphonies No.6 and 9 and William Walton's Belshazzar's Feast, and many other works as a member of the orchestral ensemble. Twentieth-century orchestras generally include a string section, woodwinds, brass instruments, percussion, piano, celeste, harp(s), with other instruments called for occasionally, such as electric guitarLagnella, David.
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Maurice Clark McAdow (17 November 1904 in Greenville, Illinois - 20 August 2001 in Denton, Texas) was an American conductor, trumpeter, and music educator (with high proficiency on woodwinds) who served as director of bands at the University of North Texas College of Music for years, from fall 1945 to spring 1975.Who's Who in the South and Southwest, 15th edition, 1976–1977, Marquis Who's Who (1976) The concert bands under his direction were acclaimed for performing a wide repertoire that exhibited advanced levels of musicianship commensurate with a major music school. The marching bands under his direction were known for innovative and colorful halftime shows. Since the mid-1940s, the College of Music had been, and still is, among the nation's largest music schools.
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At the end of the development, new lyrical melodic material leads to a return of the main theme and a modulation back to E major. Thus, the recapitulation follows in fairly standard fashion at rehearsal 157; it brings back the same themes and firmly establishes E major. The coda at rehearsal 167, marked più tranquillo, again puts the main theme of the movement in the cellos and brings back the "Spirit of Delight" motive from the first movement, now heard in the woodwinds at a slower tempo at rehearsal 168. The movement ends peacefully, and Elgar, who had premiered his First Symphony and his Violin Concerto to "endless ovations", is said to have been disappointed by the less generous reception of the Second Symphony.
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Vustin composed from 1963, but regarded only works written since 1972 as valid. His musical language is distinctive by the remarkable organization of its musical texture. Vustin uses the twelve-tone technique, but in his own original way. His first notable compositions were written in the midst of the 70s: the eight-minute-long The Word (scored for ensemble of woodwinds, brass and percussion (1975)) was dedicated to Grigori Frid; and the three-minute long In Memory of Boris Klyuzner, for baritone and string quartet (1977) was set to the autobiographical text by Yuri Olesha. Another piece, Blessed are the Poor in Spirit for boy-soprano (or counter-tenor) accompanied by a chamber ensemble was composed in 1988 to the text from Matthew 5:3–8.
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Mandelbaum's motivation to use the 31 equal temperament arose from its close approximation to just intonation; Mandelbaum preferred the equal temperament to just tuning out of convenience, as it produced one tuning of a keyboard with which it was possible to explore approximations of chords to just tuning in any key. Although well known for exploring alternate tunings, Mandelbaum still uses conventional tuning in about 80% of his music. Mandelbaum attributes his use of conventional tuning to his reluctance to use keyed instruments (such as woodwinds) in tunings other than those that they were designed for."Six American Composers on Nonstandard Tunnings: Douglas Keislar; Easley Blackwood; John Eaton; Lou Harrison; Ben Johnston; Joel Mandelbaum; William Schottstaedt", Perspectives of New Music, Vol.
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Heckel himself had made over 1,100 instruments by the turn of the 20th century (serial numbers begin at 3,000), and the British makers' instruments were no longer desirable for the changing pitch requirements of the symphony orchestra, remaining primarily in military band use. Two views of a Fox model 220 bassoon Except for a brief 1940s wartime conversion to ball bearing manufacture, the Heckel concern has produced instruments continuously to the present day. Heckel bassoons are considered by many to be the best, although a range of Heckel-style instruments is available from several other manufacturers, all with slightly different playing characteristics. Because its mechanism is primitive compared to most modern woodwinds, makers have occasionally attempted to "reinvent" the bassoon.
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It became a January 2017 Editor's Pick on DownBeat.com. In December 2017 New Orleans surprised her by nominating her for "Best Contemporary Jazz Artist" in New Orleans by Best Of The Beat 2017, OffBeat Magazine. "As a bandleader, Davies delivers an ambitious program that incorporates r&b-flavored; vocals, propulsive bass lines, drum patterns with a swing feel, occasionally blues-tinged keyboard work, growling trombone, epic prog-rock synthesizer washes and brief bouts of hip-hop turntableism, all tied together with an improviser's approach." September 2018 she released "Perspectives II" with Billie Davies Trio featuring Iris P, vocals and spoken word, with whom she also recorded "On Hollywood Boulevard" and also featuring Ari Kohn, woodwinds and Allie Porter, vocals and spoken word.
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The greeting and answering is repeated two more times in two stanzas of the poem, reflecting the strengthening of the weary in spirit and body (""), and finally overcoming death (""). The following fourth appearance of "Peace be with you" is accompanied by both woodwinds and strings, and peace is finally achieved. Klaus Hofmann describes the movement as an "operatic scene" and continues "Bach resorts to unconventional means; he shows himself as a musical dramatist and, in the process, stresses the element of contrast: he comments upon the words of the faithful with agitated, tumultuous string figures, whilst Jesus' peace greeting sounds calmly and majestically, embedded in pastoral wind sonorities." Bach adapted this movement as the Gloria of his Missa in A major, BWV 234.
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Robbie Lee is a New York-based composer and multi-instrumentalist. He specializes in improvisation, incorporating historical and early music instruments, in the intersection of experimental, classical and jazz music. Lee also releases music under the name Creature Automatic. In the mid-2000s Lee was a member of Neil Hagerty’s post Royal Trux group The Howling Hex, the Dax Riggs band and Love As Laughter. Since 2008, he has been better known as part of the New York experimental scene as a member of minimalist composer and lutenist Josef van Wissem’s Heresy of the Free Spirit, the Early/Renaissance- music inspired group Seven Teares (where Lee played woodwinds and portative organ), his improvisational duo work with Che Chen, and as a session musician and collaborator.
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Alongside the influences laid out in the press release of the album, American Drift uses a distinct keyboard-based rich musical palette, including ambient pads, woodwinds and horns, and Hollywood-style stock sound effects including vocal bites, explosions, alerts, gunshots, beeps and evil laughs. These sounds are often arranged atmospherically or rhythmically in juxtaposition with the otherwise polyphonic and minimalist tone of the music, and in particular, Crampton's style of sound collages with such samples has been dubbed as "epic collage". Crampton's collaborator, Money Allah, who speaks and sings on the title track and "Wing", is described as a "thug dove". On "Petrichrist" and "Wing", rhythm samples reminiscent of Baile funk are used alongside cumbia patterns, and on "Axacan", samples are interspersed with rhythms recalling Andean khantus music.
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At the core of his creative output are the 14 wind quintets, several works for solo woodwind with strings, and numerous other chamber music pieces for winds, strings, keyboards and percussion. Three Sonatas for bass clarinet and piano have also proven popular with clarinetists. His work also encompasses larger forms: over a dozen concertos and works for band, orchestra and chorus. As a testament to his versatility, his Humboldt Currents Brass Octet (3 trumpets in B flat, horn, three trombones, and tuba), is a substantial work in three movements proving his ability to produce pieces other than for woodwinds and strings. Sophisticated and idiomatically written, Michael Kibbe’s octet is an accessible contemporary work perfectly suited to collegiate or professional recitals and concerts, and is a welcome addition to the brass chamber repertoire.
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"Haydn added the trumpet and timpani parts later but they are moulded into the texture in an eminently skilful manner and their omission would be unthinkable (although, unfortunately, not unheard-of)." #Vivace con brio, (D major) #Specie d'un canone in contrapunto doppio Andante, (D minor) #Allegretto, (D major) #Allegro con brio, (D minor, ending in D major) The first movement is a sonata form allegro in time, dominated by a motif established in the opening bars and consisting of two descending pairs of notes, firmly establishing the home key by using only notes in the D major triad. 500px The exposition is marked for repeat, as are the development and recapitulation. The development begins with a repetition of the exposition's ending, but on unison C-naturals in the woodwinds and strings.
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Stravinsky's 1946 scoring is for a smaller orchestra: ;Woodwinds: :3 flutes (3rd doubling piccolo) :2 oboes :1 cor anglais :3 clarinets in B (3rd doubling bass clarinet in B) :2 bassoons :1 contrabassoon ;Brass section: :4 horns in F :3 trumpets in B and C :3 trombones :1 tuba ;Percussion: :Timpani :Bass drum :Cymbals :Snare drum :Tambourine :Triangle :Tamtam :Xylophone :Piano :Celesta :Harp ;Strings: Compared to the 1911 version, the 1946 version (given in 1947) requires 1 less flute; 2 fewer oboes, but a dedicated cor anglais player instead of one doubled by the fourth oboe; 1 less clarinet; 2 fewer bassoons, but a dedicated contrabassoon; neither of the 2 cornets, but an additional trumpet; 1 less snare drum and no tenor drum, thus removing the offstage instruments; no glockenspiel; and 1 less harp.
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The opening of Beethoven's Symphony No. 5, third movement is often used as an orchestral excerpt during bass auditions. In classical music, the bassline is always written out for the performers in musical notation. In orchestral repertoire, the basslines are played by the double basses and cellos in the string section, by bassoons, contrabassoons, and bass clarinets in the woodwinds and by bass trombones, tubas and a variety of other low brass instruments. In symphonies from the Classical period, a single bassline was often written for the cellos and basses; however, since the bass is a transposing instrument, and it is notated an octave higher than it sounds, when cellos and basses play the same bassline, the line is performed in octaves, with the basses an octave below the cellos.
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Resident Advisor. Retrieved June 3, 2017. J-pop, new age, and what critic Thomas H. Green described as "Parisian café music." While it contains the same elements of the works of 1980s acts like Peter Gabriel, Dip in the Pool, and David Sylvian that were in all of CFCF's previous albums, including light-sounding drum machines, fretless bass and new age synthesizers, it includes much more acoustic instrumentation than his past releases, such as woodwinds, pianos, saxophones, chime sounds and accordions. The more ambient tracks on On Vacation include "Lighthouse on Chatham Sound," which contains a brief interlude of a woodwind-and-chime arrangement in the style of Brian Wilson's album Smile (2004), and “In The Courtyard.” The songs on On Vacation were inspired by the films Paris, Texas (1984) and Three Colors: Red (1994).
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It has the same general shape as a soprano, but is approximately 50% larger in all dimensions. A 50% increase in length causes a 50% increase in the wavelength for a given fingering. This lowers the pitch by a perfect fifth, that is from C to F. The F alto is a non-transposing instrument, though its basic scale is in F, that is, a fifth lower than the soprano recorder and a fourth higher than the tenor (both with a basic scale in C). So-called F fingerings are therefore used, as with the bassoon or the low register of the clarinet, in contrast to the C fingerings used for most other woodwinds. Its notation is usually at sounding pitch, but sometimes is written an octave lower than it sounds.
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Cetera's former Chicago bandmates had high regard for his voice and singing ability. In his autobiographical book, Street Player: My Chicago Story, Danny Seraphine, the original drummer for the band Chicago, recollects that when the group was being formed in the city of Chicago in the 1960s it needed someone who could sing in the high range. Seraphine says Cetera was, at that time, "the best singer in the city". In a 1992 interview, seven years after Cetera had left the group, original band member and woodwinds player Walt Parazaider called Cetera, "one of the finest singers in the world" and rated Cetera among his choice of top five singers. In a 2009 interview, former Chicago member Bill Champlin said of Cetera, I think he's one of the major voices of our time.
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The opening theme reappears, now the first theme in the recapitulation, which later leads to the secondary theme but this time in G major and march-like. The movement ends with a coda triumphantly, almost as a deceptive finale. It is probably no coincidence that the movement, with its stormy character through restless strings, wind-like whistling woodwinds and thundering brass instruments, is reminiscent of the finale from Joachim Raff's Symphony No. 3 "In the forest";Look at the scores or compare for example Stadlmair's recording of Raff's final (start from minute 11:00) with the last third of this movement. the symphony was one of the most played of its time and Tchaikovsky had already been inspired by Raff in his 5th Symphony with its famous horn solo.
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The work is in five movements, performed without a break: #"La loi et le temps" (Law and Time) #"Symbole de nuit" (Symbol of Night) #"Portail de la terreur" (Gate of Terror) #"L’inachèvement sans cesse" (Unceasing Incompletion) #"Car ce n’est que par l’erreur" (Because Only Amidst Error) It is scored for solo mezzo-soprano, a choir of twelve solo singers, and an orchestra of twenty-eight players made up of roughly equal numbers of woodwinds, strings, and percussion . The text is taken from a passage in Broch's novel where Virgil, alone in his room, late at night, contemplates the stars from his window. It is a meditation on the marriage of law and time, of the inevitable and the unpredictable . It follows the linear arrangement of about six pages of Broch's text.
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On November 15, 2003, in only their third year of existence (and at their first appearance at the Florida Marching Band Coalition (FMBC) Championships), the Timber Creek Regiment was crowned FMBC Overall Grand Champion at the FMBC State Finals, the first band other than Cypress Creek High School (Orlando FL) recognized as "State Champions". The Regiment also had an undefeated 2009 season with their show Within. The Regiment has won numerous awards, such as best brass, best woodwinds, best colorguard, best effect, best percussion, etc. On November 20, 2010, the Timber Creek Regiment's performance of X: The Journey garnered them recognition as Class 5A Champions at the 2010 FMBC Championships, held at Tropicana Field, St. Petersburg FL (as of the 2005 marching season, FMBC no longer designates a "Grand Champion" at state finals).
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In orchestral or concert band settings, regular concert horns are normally preferred to mellophones because of their tone, which blends better with woodwinds and strings, and their greater intonational subtlety—since the player can adjust the tuning by hand. For these reasons, mellophones are played more usually in marching bands and brass band ensembles, occasionally in jazz bands, and almost never in orchestral or concert band settings. While horn players may be asked to play the mellophone, it is unlikely that the instrument was ever intended as a substitute for the horn, mainly because of the fundamental differences described. As an instrument, it compromises between the ability to sound like a horn and a playing position like a trumpet or flugelhorn, a tradeoff that sacrifices acoustic properties for ergonomics.
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For the company's 1960s superhero efforts, composer John Gart (under the stage name John Marion) and music supervisor Gordon Zahler created strong themes and backing cues using a large orchestra, until the Batman entry in 1968, which used sparser production and jazzier themes. The company's 1960s adventure series Journey to the Center of the Earth (1967) and Fantastic Voyage (1968) likewise used sparser music production. Journey made heavier emphasis on guitar than the company's previous series, while Voyage made use of deliberately haunting woodwinds to create a science fiction flavor. According to the booklets accompanying some of the DVDs of Filmation's shows, composer Ray Ellis (who was assisted by his son Marc Ellis) had produced the background music for most Filmation series under the pseudonyms "Yvette Blais and Jeff Michael".
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A soundtrack album was released in 2018, consisting of all music cues minus dialogue but with sound effects remaining intact The score was performed by the Vince Guaraldi Sextet, featuring Guaraldi on piano, Monty Budwig on bass, Colin Bailey on drums, John Gray on guitar, Ronald Lang on woodwinds and Emmanuel Klein on trumpet. It was orchestrated by John Scott Trotter, arranged by Guaraldi and Robert G. Hartley. All the music was recorded on October 4, 1966, at Desilu's Gower Street Studio in Hollywood. The Peanuts franchise signature tune, "Linus and Lucy", is used at the beginning as Linus and Lucy prepare a pumpkin to be a jack-o-lantern, as Linus mails his letter to the Great Pumpkin, and when Lucy wakes up at 4 AM to take Linus home from the pumpkin patch.
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The score calls for a total of over 90 instruments: ;Woodwinds :2 flutes (one doubling piccolo) :2 oboes (one doubling cor anglais) (in movement III, the first oboist plays briefly offstage) :2 clarinets (one doubling E clarinet) :4 bassoons ;Brass :4 horns :2 cornets :2 trumpets :3 trombones :2 ophicleides (modern performances use tubas) ;Percussion :4 timpani (played by two players) :cymbals :snare drum (used in movement IV) :bass drum :bells in C and G ;Strings :2 harps (used in movement II) :Violins I, II :Violas :Celli :Double basses Berlioz specified at least 15 1st violins, 15 2nd violins, 10 violas, 11 celli and 9 basses on the score. Berlioz originally wrote for 1 serpent and one ophicleide, but quickly switched to two ophicleides after the serpent proved to be difficult to use.
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Michael Haydn's Symphony No. 37 in D major, Perger 29, Sherman 37, MH 476, written in Salzburg in 1788, is the last D major symphony he wrote, the fourth of his final set of six symphonies. The symphony is scored for 2 oboes (2nd alternating on flute in the second movement), 2 bassoons, 2 horns and strings and is in three movements: #Vivace #Andantino, in A major #Allegro assai The first movement is notable among Haydn's works for the use of tremolo notation as a shortcut for repeated semiquavers. The second movement, like the slow movements of other symphonies in the set, treats the woodwinds in an almost concertante fashion. The third movement is a lively rondo with a little development in minor keys of the A subject before the final restatement in D major.
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Buell, Richard. "A Thinking Reed and Singing Woodwinds", The Boston Globe, 9 February 1988 After retiring from the stage, Reed moved to Halifax, West Yorkshire, England, with his life partner (since 1958), John Nicholas Kerri, who also acted as his business manager. There he directed local amateur Gilbert and Sullivan societies, including the Harrogate Gilbert and Sullivan Society (1980–1994)List of Harrogate productions directed by Reed . harrogategilbertandsullivan.org, accessed 17 February 2010 and the West Yorkshire Savoyards, among others."Classicfest Comes to Harrogate" , Amateur Stage, 20 August 2012 Reed continued to direct, and to sing occasionally in concerts, until at least 2004, including at the International Gilbert and Sullivan Festival, where he also gave talks and participated in events, often with other former members of the D'Oyly Carte.
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The America- Italy Society presented its first concert of the Amerita Chamber Players in 1956 at The Philadelphia Museum of Art, and their annual concerts of Italian Baroque music remain the Society's most popular event. The Amerita Chamber Players was founded by Philadelphia Orchestra violinist, Frank Costanzo and then Consulate General of Italy in Philadelphia, Dr. Giovanni Luciolli. By merging the words "America" and "Italy", the name "Amerita" was born to represent the combination of the two different cultures. What began as a small string orchestra is today, under the direction of harpsichordist Davyd Booth (who serves on the Board of Directors) and bassist-gambist Michael Shahan, an ensemble consisting of a string quintet and harpsichord with the addition of woodwinds or brass, vocal soloists, and other instrumentalists.
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Q magazine in England wrote, "On the Foxy Music CD, the band steer away from determined psychedelia in favor of a friendly looseness to their playing. Jabs of electro-trombone and flute cluster alongside churning organ and splintered Rhodes Piano. Beck's trumpeter Jon Birdsong also turns on a great big blubbery blast of tuba, while musical director Patrick O'Hearn's clattering drums have an automaton rotary action that sometimes recalls Can's Jaki Liebezeit." As of 2015, the members of Mushroom were Pat Thomas (congas, bongos, drum kit), Ned Doherty (bass), Erik Pearson (flute, violin, effects, acoustic and electric guitar, electric sitar), Dave Brandt (congas, bongos, vibes, djembe, gongs), Josh Pollock (acoustic guitar, vocals, megaphone electronics), Alison Levy (vocals), Ralph Carney (woodwinds/horns), Gram Connah (keyboards), Matt Cunitz (keyboards), Tim Plowman (guitar), Dan Olmsted (guitar), and Dave Mihaly (vibes, percussion).
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Perrin's revival of Robin des bois opened on 24 January 1855 and was performed 59 times that season and a total of 128 times by the company up to 1863, when it was replaced with a more faithful translation of the original called Le Freischütz. The singers included Pauline Deligne-Lauters in the role of Annette (Agathe in the original), Caroline Girard as Nancy (Ännchen), Rousseau de Lagrave as Tony (Max), and Marcel Junca as Robin (Samiel). Hector Berlioz in the Journal des débats thought the sets and the men's chorus were good, but the woodwinds in the orchestra made so many egregious errors that the audience began murmuring. Paul Scudo in the Revue des deux mondes agreed, saying that the orchestra was "at its wits ends", while adding that the singers were all subpar except for Deligne-Lauters.
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The open front end of the sound box is covered with snake skin. As with many of the diverse instruments in China, many Huqin stringed instruments were used in feudal times to accentuate traditions, festivals, rituals, and court life. Chinese operas, especially in Beijing, required the use of elegant music and instruments, thus many woodwinds, drums, and stringed instruments including the Jiaohu were used in ensembles to give operas more emotional meaning. It has two strings and its sound box is made from the horn of a cow. The open front end of the sound box is covered with snake skin. The instrument is used primarily by the Gelao people of the southern Chinese province of Guangxi. The instrument's name is derived from the Chinese words jiǎo (角, meaning "horn") and hú (胡, short for huqin).
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Their recordings of chamber music for both woodwinds and strings were reissued in 2011, including the works for larger ensembles which were the reason to found the ensemble, such as Beethoven's Septet and Octet, Schubert's Octet and Ravel's Introduction and Allegro, played with Osian Ellis (harp), Richard Adeney (flute), Emanuel Hurwitz and Ivor McMahon (violin), Cecil Aronowitz (viola) and Terence Weil (cello).Melos Ensemble – Music among Friends EMI website; accessed 5 February 2017 From 1956–73 he was principal clarinet of the London Symphony Orchestra. He was a founding member of The Chamber Music Society of Lincoln Center in New York in 1969 and played with them for 20 years. He conducted the English Chamber Orchestra, the London Symphony Orchestra, the Melos Sinfonia, he directed the London Symphony Orchestra Wind Ensemble and was the associate conductor of the Haydn Orchestra.
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Singers add expression to the melodies they sing using many methods, including changing the tone of their singing, adding vibrato to certain notes, and emphasizing important words in the lyrics. Expressive qualities are those elements in music that create change in music without changing the main pitches or substantially changing the rhythms of the melody and its accompaniment. Performers, including singers and instrumentalists, can add musical expression to a song or piece by adding phrasing, by adding effects such as vibrato (with voice and some instruments, such as guitar, violin, brass instruments and woodwinds), dynamics (the loudness or softness of piece or a section of it), tempo fluctuations (e.g., ritardando or accelerando, which are, respectively slowing down and speeding up the tempo), by adding pauses or fermatas on a cadence, and by changing the articulation of the notes (e.g.
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In contrast to the elastic scoring of the First Suite, Holst was much more specific with the scoring of the Second Suite. His original manuscript specified the following instruments: ;Woodwinds: :Flutes :Piccolo in D :Oboe :Clarinet in E :Solo Clarinet in B :3 Clarinets in B :2 Bassoons :Alto saxophone in E :Tenor saxophone in B ;Brass: :2 Cornets in B :4 Horns in E and F :2 Tenor trombones :Bass trombone :Euphonium :Tubas ;Percussion: :Snare drum :Bass drum :Cymbals :Triangle :Tambourine :Anvil The 1948 full score published by Boosey and Hawkes added the following instruments: :Alto clarinet in E :Bass clarinet in B :Soprano saxophone in B :Baritone saxophone in E :Bass saxophone/Contrabass clarinet in B :2 Trumpets in B In his revised 1984 score, Colin Matthews omits all additional instruments except the bass clarinet, the baritone, and bass saxophones.
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The term "false fingering" is used in instruments such as woodwinds, brass, and stringed instruments where different fingerings can produce the same note, but where the timbre or tone quality is distinctly different from each other. For example, on a guitar, the same note played on a wound string will sound significantly different than one played on a solid wire string, so playing the same note on different strings in short succession can accentuate the different tone colors without actually changing the note. When the note is played in such a way as to draw the distinction from the expected tone quality (which will vary depending on the exact musical passage it appears in) it is often called a "false fingering". The technique is common in jazz contexts, especially on wind instruments such as the saxophone.
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Produced by Warne Livesey, Lights marked the sixth album the two had worked together on (including Matthew Good Band discography). While Good's lyrics on Lights remain socio-political and personal in nature, the album marks a departure from Good's rock-driven style with layered arrangements and instrumentation featuring horns, strings, woodwinds and piano – a reflection of Good's musical upbringing and tastes, listening to big bands from Glenn Miller to Count Basie, as well as modern jazz, such as Miles Davis and Mingus. He also singled out the horn section on Simon and Garfunkel's "Keep the Customer Satisfied" as a particular influence for the album's fifth track, "Zero Orchestra". The musical style also marked an effort from Good and Livesey to create something that was not necessarily "commercially viable", an idea that the two first discussed when they were mixing 1997's Underdogs.
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Lumiere basset clarinet Backun produces only clarinets with French fingering system (Boehm) and so far only the most common clarinets in B and A. The A clarinet, Lumière model (top model), is also available as a basset clarinet. An existing Lumiere can be turned into a basset clarinet with a separately available basset lower joint. The following clarinets are in the program:WebsiteNational Association of Music Merchants, Advancing the Art of Woodwinds 1\. Student model Alpha in B made of synthetic ABS material with 17 keys and 6 rings plus optional Eb lever, with nickel- or silver-plated mechanismBackun Makes Quality More Accessible, Music Trades, Feb2014, Vol. 162 Issue 1, p174 2\. Student model Beta in B made of grenadilla (Dalbergia melanoxylon) wood, with 17 keys and 6 rings plus optional Eb lever, with nickel- or silver-plated mechanism 3\.
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This dedication to sharing and receiving information continues today through the worldwide Moravian Unity, including Africa and the Caribbean. Along with their rich devotional life and their missionary fervor, the Moravians maintained their high regard for education and their love of music as an essential part of life. Moravian composers – also serving as teachers, pastors, and church administrators – were well versed in the European Classical tradition of music, and wrote thousands of anthems, solo arias, duets, and the like for their worship services, for voices accompanied not only by organ but also by string orchestras supplemented by woodwinds and brasses. In addition, these musicians copied thousands of works by the best- known and loved European composers of their day – Carl Stamitz, Haydn, Carl Friedrich Abel, Adalbert Gyrowetz, Mozart, the Bach family, and many whose names have descended into relative obscurity.
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Pareyon's output is specially known by Xochicuicatl cuecuechtli (2011), the first modern opera in the Americas that exclusively uses a Native American language (Nahuatl in this case) as well as music instruments native to Mexico. As young composer (from 2006 and earlier), several works written by Pareyon were selected for the Thailand International Saxophone Competition for Composers (Bangkok, 2006, I Prize), the 2nd International Jurgenson Competition for young composers (Moscow, 2003, II Prize) and the 3rd Andrzej Panufnik International Composition Competition (Kraków, 2001, III Prize). His earlier production includes works for common objects (such as bottles, stones, etc.) as well as for classical (European) instruments and ensembles. He also experimented with Mexican traditional instruments (such as huehuetl, teponaztli and a wide variety of woodwinds), and metre and phonetics from Nahuatl and Hñähñu, also known as the Otomí language.
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They are the cry of regret and anguish with which Brecht warns us that often it is necessary to renounce the seduction of words when they sound like an invitation to forget our links to a world constructed by our own acts. The score calls for an unusually large orchestra: 16 woodwinds; 6 horns, 4 trumpets and 4 trombones plus tuba, full strings, including three violin sections, and a percussion section calling for a number of performers who address themselves not only to glockenspiel, celesta, vibraphone and marimba but also to spring coils, tamtam, tom-tom, temple blocks, wood blocks, bongos, timpani, cowbells, tubular bells, claves, guiro, censerros, cymbals, snare drum, tambourine, etc. The BBC Proms premiere was given in the Royal Albert Hall, London on 8 August 1986, by Elizabeth Laurence and the BBC Philharmonic Orchestra conducted by Edward Downes.
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The song was recorded on Thursday, September 11, 1958, at the Capitol Tower in Hollywood in a recording session from 9:45 P.M. to 12:45 A.M.. Three songs were recorded, arranged and conducted by Nelson Riddle: "Mr. Success", "Sleep Warm" and "Where or When", take 7. The personnel on the session were: Pete Candoli, Conrad Gozzo, Mickey Mangano, Cappy Lewis (trumpet); Tommy Pederson, Dick Noel (trombone); Juan Tizol (valve trombone); George Roberts (bass trombone); Willie Schwartz, Bill Green, Champ Webb, Joe Koch, Harry Klee (sax/woodwinds); Harold Dicterow, Ben Gill, Murray Kellner, David Frisina, Lisa Minghetti, Alex Beller, Victor Bay, Felix Slatkin, Eudice Shapiro, Marshall Sosson (violin); David Sterkin, Stanley Harris (viola); Eleanor Slatkin, Victor Gottlieb, Elizabeth Greenschpoon (cello); Kathryn Julye (harp); Bill Miller (piano); Al Viola (guitar); Joe Comfort (bass); and Alvin Stoller (drums).
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A short transition back to the tonic E major ushers in the recapitulation—notable for how it restates the second theme in the subdominant A minor (instead of the expected tonic parallel E minor) begun by the oboe and continued by the clarinet (vice versa to their roles in the exposition). The coda starts with a new theme that is simply an extension of the two-bar E major cadential figure that opens the movement. This gives way to the laconic triadic first-violin transition motto, which leads to a restatement of the first theme by the woodwinds in distant A major followed by the motto again leading back to the tonic E major for a final extended transformation of the first theme, leading in turn to a final extended version of the opening cadential figure that reappears to close.
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In Beethoven's and Felix Mendelssohn's time, the orchestra was composed of a fairly standard core of instruments which was very rarely modified. As time progressed, and as the Romantic period saw changes in accepted modification with composers such as Berlioz and Mahler, the 20th century saw that instrumentation could practically be hand- picked by the composer. Saxophones were used in some 20th-century orchestra scores such as Vaughan Williams' Symphonies No.6 and 9 and William Walton's Belshazzar's Feast, and many other works as a member of the orchestral ensemble. In the 2000s, the modern orchestra became standardized with the modern instrumentation that includes a string section, woodwinds, brass instruments, percussion, piano, celeste, and even, for some 20th century or 21st century works, electric instruments such as electric guitar, electric bass and/or electronic instruments such as the Theremin or synthesizer.
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The task of adapting a composition for different musical ensembles is called arranging or orchestration, may be undertaken by the composer or separately by an arranger based on the composer's core composition. Based on such factors, composers, orchestrators, and arrangers must decide upon the instrumentation of the original work. In the 2010s, the contemporary composer can virtually write for almost any combination of instruments, ranging from a string section, wind and brass sections used in a standard orchestras to electronic instruments such as synthesizers. Some common group settings include music for full orchestra (consisting of strings, woodwinds, brass, and percussion), concert band (which consists of larger sections and greater diversity of woodwind, brass, and percussion instruments than are usually found in the orchestra), or a chamber group (a small number of instruments, but at least two).
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Hornsby's touring band lineup underwent extensive changes between 1998 and 2000 as well, with longtime drummer John Molo joining former Grateful Dead bassist Phil Lesh in his band Phil Lesh & Friends. A set of twenty consecutive shows performed by Hornsby and his band at Yoshi's Jazz Club in Oakland, California marked a particularly innovative period of evolution for his live shows; there Hornsby and his band were "able to explore songs in a completely spontaneous fashion". Since that time Hornsby has avoided even planning set lists for his shows, preferring to choose songs on the spot based mainly on audience requests. As Hornsby experimented with a different sound, ushering in frequent collaborations with such musicians as Steve Kimock on guitar and Bobby Read on heavily effects-driven electronic woodwinds, a new band, dubbed the Noisemakers, took shape.
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Samuel Barber received a commission in 1953 from the Chamber Music Society of Detroit to write a piece of music for string instruments and woodwind instruments. Barber drew from some of his previous work, including the unpublished orchestral piece Horizon (1945), as material for Summer Music. Originally meant to be a septet for three woodwinds, three strings, and piano, Summer Music evolved into a quintet as Barber experimented with some tuning études written by hornist John Barrows for himself and his colleagues in the New York Woodwind Quintet. On March 20, 1956, as part of the twelfth season of the Chamber Music Society, the premiere of Summer Music took place at the Detroit Institute of Arts, performed by the first-desk players of the Detroit Symphony Orchestra: James Pellerite (flute), Arno Mariotti (oboe), Albert Luconi (clarinet), Charles Sirard (bassoon), and Ray Alonge (horn).
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He was often seen on the show when Carson played "Stump the Band", where studio audience members asked the band to try to play obscure songs given only the title. The Tonight Show had a live band for nearly all of its existence, and Ashworth played under three different band leaders: Skitch Henderson (who had previously led the band during Tonight Starring Steve Allen; see photo), followed briefly by Milton DeLugg, then from 1967 to 1992 by Doc Severinsen (with Tommy Newsom filling in for him when Doc was absent). While playing for The Tonight Show Band, he also played woodwinds for The Carol Burnett Show on CBS for 8 years. He also played for a variety of other television shows, including Dallas, Dynasty, Trapper John M.D., Perry Como's Kraft Music Hall, and The Merv Griffin Show.
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The orchestra's size is about the size employed for early 19th-century opera: 2 flutes (one doubling piccolo), 2 oboes (both doubling oboe d'amore), 2 clarinets, bass clarinet, 2 bassoons, 2 french horns, 2 trumpets, 2 trombones, tuba, percussion (3 players), celesta (doubling synthesizer), 12 violas, 8 celli, 6 double basses. Since the Stuttgart State Opera house was being restored in 1984 and the orchestra pit of the ' at the Stuttgart State Theatre, where the premiere was to take place, was considerably smaller, Glass chose to completely leave out the violins (about 20), giving the orchestra a darker, sombre character, which fits the subject. Apart from this, this was Glass's most "conventional" opera orchestra until then (compared to Einstein on the Beach, written for the six-piece Philip Glass Ensemble, and Satyagraha, scored for woodwinds and strings only).
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In 1968, Roy Wood — guitarist, vocalist and songwriter of the Move — had an idea to form a new band that would use violins, cellos, string basses, horns and woodwinds to give their music a classical sound, taking rock music in the direction to "pick up where the Beatles left off". The orchestral instruments would be the main focus, rather than the guitars. Jeff Lynne, frontman of fellow Birmingham group the Idle Race, was excited by the concept. When Trevor Burton left the Move in February 1969, Lynne was asked by Wood to join, only to say no, as he was still focused on finding success with his band. But in January 1970, when Carl Wayne quit the band, Lynne accepted Wood's second invitation to join, on the condition that they focus their energy on the new project.
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The deserted musical landscape of the opening remains disturbed only by distant timpani rolls and faint glimmers of light from the woodwinds. Without warning, the first section Allegro bursts on to the scene at fff – thundering timpani, biting rhythms from the trumpets and piccolos and rushing semiquavers in the strings in the background as the trombones announce a theme, characterised by an upward movement and, at its height, a downward slur of a semitone followed by repeated notes a major third lower. This theme acts as the first subject of a telegraphically argued sonata form, but will also make a reappearance in the final section, although in a new form. This leads to a dramatic appearance of another thematic element, beginning with a twice repeated downward hammering of a minor third which shares a close similarity with the first theme.
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"The Stars and Stripes Forever" follows the standard U.S. military march form—of repeated phrasing of different melodies performed in sections called strains: a Sousa legacy. Performances vary according to the arrangements of individual band directors or orchestrators, especially regarding tempo and the number and sequence of strains employed. A typical performance of the march begins with the four-bar introduction, following with the first strain, which is repeated; then the second strain, which is also repeated; and sometimes both are repeated again if (the band is) marching in parade (or the breakstrain may be interjected and repeated). Now follows the dominant woodwinds in the first run of the famous Trio strain—familiar to many for the nonsense lyrics: "Be kind to your web- footed friends..."—which repeats, and later repeats again as the piccolos obligato.
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During his studies at CSULA, he was accepted into the piano and string master classes of concert pianist Dr. Milton Stern and string pedagogue Noumi Fischer where Ariondo transcribed, adapted and arranged music for accordion with piano, violin, viola, cello and string bass. In 1976 he received a Bachelor of Arts Degree in Music and four years later a Master of Arts Degree in composition and performance. The fulfillment of these degrees focused on performance which included Ariondo's original compositions and arrangements with special emphasis toward the utilization and integration of the accordion in chamber music settings. His masters thesis recital "Interaction and Integration of the Accordion in Chamber Music" encompassed a variety of music styles and genres from the baroque and classical to ragtime, gypsy, improvisational to the avant-garde mixed with accordion, strings, woodwinds and voices.
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The first (motto) theme The second (main) theme (a) The second (main) theme (b) The second (main) theme (c) The woodwinds motive The third theme (clarinet stave, transposed) Les Éolides is a symphonic poem with a complex structure slightly resembling the sonata form. There are three main themes, two of which are in A major (that is the first subject), while the last is stated in F minor (second subject). A long development section begins with a new statement of the second theme, but it soon gives place for proper thematic development, ending with a slower tempo section based mainly on the third theme (E major). In the recapitulation the A major themes return, and a slower tempo section is heard again, this time in the home key (thus it can be said to be a proper sonata form).
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In small ensembles such as this, bassoon's bass function is in greater demand, although in repertoire from the 20th century (when bassoon's top octave and bass-register horn writing became more frequently employed) bassoon writing may call for it to play with the same agility (and often in the same register) as the smaller woodwinds, as seen in cornerstone works like Summer Music. The bassoon quartet has also gained favor in recent times. The bassoon's wide range and variety of tone colors make it well suited to grouping in a like-instrument ensemble. Peter Schickele's "Last Tango in Bayreuth" (after themes from Tristan und Isolde) is a popular work; Schickele's fictional alter ego P. D. Q. Bach exploits the more humorous aspects with his quartet "Lip My Reeds", which at one point calls for players to perform on the reed alone.
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Leonard William Hambro, known as Lenny Hambro (October 16, 1923 – September 26, 1995), was a journeyman jazz musician who played woodwinds, primarily alto saxophone, with a host of bands, orchestras, and jazz notables from the early 1940s through the mid-1960s, and continued as a session musician, music producer, booking agent, and entertainment coordinator through the mid-1990s. Early in his professional career, Hambro spelled his name "Lennie" but changed it to the former spelling in 1954, although he was occasionally referred to as "Lennie" in the press as late as 1957. Hambro broke into the profession with Gene Krupa in 1942. However, he is best known for his time as manager and assistant band leader with the New Glenn Miller Orchestra under the direction of Ray McKinley. He was well known in the Latin Jazz community and was closely associated with Chico O’Farrill.
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The work is based on the Rondeau from Henry Purcell's incidental music to Aphra Behn's Abdelazer, and is structured, in accordance with the plan of the original documentary film, as a way of showing off the tone colours and capacities of the various sections of the orchestra. In the introduction, the theme is initially played by the entire orchestra, then by each major family of instruments of the orchestra: first the woodwinds, then the brass, then the strings, and finally by the percussion. Each variation then features a particular instrument in depth, generally moving through each family from high to low (the order of the families is slightly different from the introduction). So, for example, the first variation features the piccolo and flutes; each member of the woodwind family then gets a variation, ending with the bassoon; and so on, through the strings, brass, and finally the percussion.
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His long discography includes many notable recordings with the Melos Ensemble, including the Trout Quintet and octets of Schubert, the Clarinet Quintet of Mozart and the Clarinet Quintet of Brahms. Their recordings of chamber music for both woodwinds and strings were reissued in 2011, including the works for larger ensembles which were the reason to found the ensemble, such as Beethoven's Septet and Octet, Schubert's Octet and Ravel's Introduction and Allegro, played with Osian Ellis (harp), Richard Adeney (flute), Gervase de Pexer (clarinet), Emanuel Hurwitz and Ivor McMahon (violin) and Cecil Aronowitz (viola).Melos Ensemble – Music among Friends EMI He also recorded trios and quartets by Schumann and Fauré with the Pro Arte Piano Quartet and string quartets with the Cremona Quartet. He was the cellist in a recording of Dido and Aeneas by Henry Purcell with the English Chamber Orchestra and Janet Baker.
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Examples can be found in Metastasis (1953–54), Pithoprakta (1955–56), and Achorripsis (1956–57), all orchestral works by Iannis Xenakis , as well as in Gesang der Jünglinge for concrete and electronic sounds (1955–56), Zeitmaße for five woodwinds (1955–56), and Gruppen for three orchestras (1955–57), by Karlheinz Stockhausen . Other composers and works include Barbara Kolb, Pauline Oliveros' Sound Patterns for chorus (1961), Norma Beecroft's From Dreams of Brass for chorus (1963–1964), and Nancy Van de Vate. Beecroft "blurs individual pitches in favor of a collective timbre through the use of vocal and instrumental clusters, choral speech, narrator, and a wash of sounds from an electronic tape" . A very early example is the opening of Jean-Féry Rebel's ballet Les Elémens (1737–38), where chaos is represented by a gradually cumulating orchestral cluster of all seven notes of the D minor scale .
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The development begins with the piano repeating its entry to the solo exposition, this time in the relative major of E. The Concerto No. 20 is the only other of Mozart's concertos in which the solo exposition and the development commence with the same material. In the Concerto No. 24, the material unfolds in the development in a manner different from the solo exposition: the opening solo motif, with its half cadence, is repeated four times, with one intervention from the woodwinds, as if asking question after question. The final question is asked in C minor and is answered by a descending scale from the piano that leads to an orchestral statement, in F minor, of the movement's principal theme. The orchestral theme is then developed: the motif of the theme's fourth and fifth measures descends through the circle of fifths, accompanied by an elaborate piano figuration.
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The band expanded to a quintet for a subsequent tour, and for their final studio release, 1988's Against All Flags, Tirez Tirez's line-up consisted of Rouse (vocals/guitar), Bergman (bass), and new members Bill Tesar (drums), Rave Tesar (keyboards) and Mark Lampariello (guitar). According to Mikel Rouse's web site, one further Tirez Tirez album was recorded after 1988, but it was never released. Rouse slowly phased out Tirez Tirez over the next few years, while continuing to work with many of the same musicians; in addition to Rouse, the 1993 line-up of his Broken Consort ensemble consisted of Tirez Tirez players James Bergman (bass), Bill Tesar (drums), and Mark Lampariello (guitar), along with non-Tirez member Dale Kleps (woodwinds). Tirez Tirez was still listed as a going concern in the liner notes to the 1993 Broken Consort release Soul Menu, but both groups wound down shortly thereafter.
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That style, "if you want to call it a style", Laurence once told a local news reporter, arose more out of necessity than an attempt to imitate Hendrix. "I started out as a drummer and I didn't own a guitar", Laurence explained, "so whenever I would pick one up to play around with, it was always a right-handed instrument, and since it wasn't mine, I couldn't take the strings off and put them on backwards, I had to play it as is." Since Laurence began his career as a professional musician—a drummer, as he mentioned—at the age of 16, he had plenty of time and energy to learn a new instrument. In fact Laurence has made numerous recordings where he plays all the instruments himself, including woodwinds, keyboards, and various stringed instruments, in the manner of Todd Rundgren and Paul McCartney.
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In addition to a somewhat standard instrumentation, the ballet also requires the use of the tenor saxophone. This voice adds a unique sound to the orchestra as it is used both in solo and as part of the ensemble. Prokofiev also used the cornet, viola d'amore and mandolins in the ballet, adding an Italianate flavor to the music. Full instrumentation is as follows: ;Woodwinds: :1 piccolo :2 flutes :2 oboes (2nd doubling on 2nd English horn) :2 clarinets (2nd doubling on E-flat clarinet) :1 bass clarinet :1 tenor saxophone :2 bassoons :1 contrabassoon ;Brass: :6 horns :3 trumpets :1 cornet :3 trombones :1 tuba ;Percussion: :Timpani :Snare drum :Xylophone :Triangle :Woodblock :Maracas :Glockenspiel :Tambourine :Chime in A :Cymbals :Bass drum ;Keyboards: :Piano :Celesta :Organ ;Plucked strings :2 mandolins :2 harps ;Bowed strings: :Viola d'amore (or solo viola) :First and second violins :Violas :Violoncellos :Double basses The score is published by Muzyka and the Russian State Publisher.
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The scoring is generally heavy, and Bartók employs many colorful techniques here, including chromatic scales, trills and tremolos in the woodwinds; glissandi in the horns, trombones and tuba; cluster chords and tremolos on the piano; scales and arpeggios on the piano, harp and celeste; and scales, double stops, trills, tremolos, and glissandi in the strings. Other special effects include fluttertonguing in the flutes; muting the brasses and strings, a cymbal roll a deux (a cymbal crash followed by scraping the plates together); playing the bass drum with the wooden part of a timpani mallet; a roll on the gong; rolled timpani glissandi; string harmonics; col legno and sul ponticello playing in the strings; scordatura in the cellos; and, at one point, quarter-tones in the violins. In 2000 a new edition edited by Peter Bartók, the composer's son, was published. Based on the composer's written manuscripts, corrections, and the concurrently written score for piano with four hands, it restored a considerable amount of previously lost music.
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The popularity of the concerts led Wilkerson to establish 8 Bold Souls as a working band, and since their formation, four Souls CDs have been issued: 8 Bold Souls on Sessoms Records, Sideshow and Ant Farm on Arabesque Records, and Last Option on Thrill Jockey. Influenced by the small groups of Duke Ellington and Jimmie Lunceford, 8 Bold Souls also makes plenty of room for adventurous experimentation in the AACM spirit, drawing fully on the unusual sonic possibilities of the group's instrumentation of two woodwinds, trumpet, trombone, cello, tuba, bass, and trap drums. Overall, Wilkerson's work may be heard on 14 recordings, including two film soundtracks. In addition to his work with 8 Bold Souls, Shadow Vignettes, and the Ethnic Heritage Ensemble, Wilkerson has also played with the AACM Big Band, Roscoe Mitchell, Douglas Ewart, the Temptations, Chico Freeman, Geri Allen, the Lyric Opera of Chicago, Muhal Richard Abrams, Aretha Franklin, and George Lewis.
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" Besides the double bass and jazzy sound, there are multiple other approaches on Otherworld unusual to Celtic music; the album's sound has been described as "rich and dense but still danceable" and features "occasional incursions" of other musical instruments unusual to Celtic music, such as the cello, flügelhorn and electric double bass. The band's approach to recording the album included multiple instances of double-tracking certain instruments, which lead one critic said "yields a sound that is unique to the group and yet clearly in touch with tradition." Several of the tracks on the album features multiple woodwinds, an approach described the most innovative of the album's multiple examples in its arrangements by Tony Montague of The Georgia Straight. One critic described the foregrounding on several tracks "of wind duos or trios - flute plus whistle and/or low whistle […] The subtle differences in tone between these superficially similar instruments are exploited in some beautiful arrangements.
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After a short time, however, The Men disbanded, with six of the members electing to go out on their own in February 1965. At the suggestion of Kirkman's then-fiancée, Judy, they took the name "The Association". The original lineup consisted of Alexander (using his middle name, Gary, on the first two albums) on vocals and lead guitar; Kirkman on vocals and a variety of wind, brass and percussion instruments; Brian Cole (born September 8, 1942, Tacoma, Washington) on vocals, bass and woodwinds; Russ Giguere (born October 18, 1943, Portsmouth, New Hampshire), on vocals, percussion and guitar; Ted Bluechel, Jr. (born December 2, 1942, San Pedro, California), from The Cherry Hill Singers, on drums, guitar, bass and vocals; and Brian Cole's friend and bandmate from the group Gnu Fokes, Bob Page (born May 13, 1943), on guitar, banjo and vocals. However, Page was replaced by Jim Yester (born November 24, 1939, Birmingham, Alabama) on vocals, guitar and keyboards before any of the group's public performances.
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The work is scored for a large orchestra consisting of the following instrumentation. The movements vary in the combinations of instruments used. Woodwinds :4 flutes (third doubling first piccolo and fourth doubling second piccolo and "bass flute in G", actually an alto flute) :3 oboes (third doubling bass oboe) :1 cor anglais :3 clarinets in B and A :1 bass clarinet in B :3 bassoons :1 contrabassoon Brass :6 horns in F :4 trumpets in C :2 trombones :1 bass trombone :1 tenor tuba in B (often played on a euphonium) :1 tuba ;Percussion :7 timpani (2 players) :Bass drum :Snare drum :Cymbals :Triangle :Tam-tam :Tambourine :Glockenspiel :Xylophone :Tubular bells ;Keyboards :Celesta :Organ ;Strings :2 harps :Violins I, II :Violas :Cellos :Double basses In "Neptune", two three-part women's choruses (each comprising two soprano sections and one alto section) located in an adjoining room which is to be screened from the audience are added.
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This unusual composition takes 10 minutes to perform. It is score for a very large and powerful set of instruments. The list of instruments used in this piece is as follows: ;Woodwinds :4 flutes :4 oboes :3 clarinets in B :baritone saxophone :contrabass clarinet in B :3 bassoons :contrabassoon ;Brass :6 horns in F :4 trumpets in B :4 trombones :tuba ;Percussion :musical saw :vibraphone :bells I :bells II :4 timpani :2 bongos :bass drum :claves :5 wood blocks :ratchet :guiro :whip :4 cowbells :triangle :6 cymbals :2 gongs :gong ageng :2 tam-tams ;Other :bass guitar :harp :harmonium :piano ;Strings :solo violin :24 violins :10 violas :10 cellos :8 double basses The composition has no tempo marking at the beginning, even though the last bars are marked as Tempo di Valse. It is mentioned in the score that two or three of the bells from the second bell set should be made of 24-karat gold.
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Mayall continued the experiment of formations without drummers on two more albums, although he took on a new electric blues-rock-R&B; band in guitarist Harvey Mandel and bassist Larry Taylor, both plucked from Canned Heat, and wailing violinist Don "Sugarcane" Harris, lately of the Johnny Otis Show and formerly with The Mothers of Invention. On USA Union (recorded in Los Angeles, 27–28 July 1970), though, Mandel was compelled to make do without his remarkable sustain and usage of feedback as musical, even melodic, technique; and on Memories the band was stripped down to a trio with Taylor and Ventures guitarist Gerry McGee. In November 1970 Mayall launched a recording project involving many of the most notable musicians with whom he had played during the previous several years. The double album Back to the Roots features Clapton, Mick Taylor, Gerry McGee and Harvey Mandel on guitar; Sugarcane Harris on violin; Almond on woodwinds; Thompson and Larry Taylor on bass; and Hartley on drums.
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The Jalisco Philharmonic Orchestra A modern orchestra concert hall: Philharmony in Szczecin, Poland An orchestra (; ) is a large instrumental ensemble typical of classical music, which combines instruments from different families, including bowed string instruments such as the violin, viola, cello, and double bass, brass instruments such as the horn, trumpet, trombone and tuba, woodwinds such as the flute, oboe, clarinet and bassoon, and percussion instruments such as the timpani, bass drum, triangle, snare drum, cymbals, and mallet percussion instruments each grouped in sections. Other instruments such as the piano and celesta may sometimes appear in a fifth keyboard section or may stand alone, as may the concert harp and, for performances of some modern compositions, electronic instruments. A full-size Western orchestra may sometimes be called a ' or philharmonic orchestra (from Greek phil-, "loving", and "harmonic"). The actual number of musicians employed in a given performance may vary from seventy to over one hundred musicians, depending on the work being played and the size of the venue.
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Produced by Justin March at Paul Moak's Smoakstack studio in Nashville, the release sparked a breakout year for Annibale which led to continuous touring with artists such as Iron & Wine, Josh Ritter, Margaret Glaspy, Great Lake Swimmers, Jesca Hoop, Rufus Wainwright, The Handsome Family, and Aoife O'Donovan. It included a win at the Independent Music Awards for Best Folk/Singer-Songwriter Album as well as appearances at the Philadelphia Folk Festival, Folk Alliance International, and SXSW. In March 2018, Annibale announced her latest full-length studio album Hold to the Light which released a couple months later on June 8. Produced by Sam Kassirer (Josh Ritter, Lake Street Dive, Craig Finn) at his Great North Sound Society studio in Maine, the album features contributions from Zachariah Hickman (Ray Lamontagne, Josh Ritter) on bass; Josh Kaufman (The National, Josh Ritter) on accompanying guitars; Sean Trischka on drums; and Matt Douglas (Sylvan Esso, Mountain Goats) on woodwinds.
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Woodwinds (especially double reed instruments) and brass instruments were quickly found to be most useful outdoors, while brass instruments (especially trombones) were particularly effective in churches and large halls. Prior to the nineteenth century concert halls did not exist, and music for entertainment was reserved for the spacious chambers of the large homes of noblemen, or in palaces, where early stringed instruments such as viols, and lutes were gradually replaced by the more powerful violins (including violas and violoncellos) and guitars. By the sixteenth century woodcuts and other illustrations showed mounted fifers, and mounted bombard players and trombonists, especially in The Triumph of Miximilian (1512). In his eulogy Arte of Warre (1591) Garrard explains that "According to the stroke of the drum,...so shall they go, just and even, with a gallant and sumptuous pace..." Until the rise of the New Model Army, military musicians were solely employed as servants by the nobility, who often maintained their own private armies of armed men, and their minstrels.
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The song verses feature synth arrangements and bird sounds, accompanied by woodwinds, which were described as "soothing" and "spare", alternating with "electronic heartbeats" and "pulses", which lead to "a bloom of warped electronics". Throughout the composition, different vocal counterpoints are layered, followed by "impressionistic percussion and synth bursts". Lyrically, it was noted that song speaks of "the possibility of love, at first speculative and then emphatic". According to Cook-Wilson, ""The Gate" seems to dramatize her narrator entering into an earthly paradise of her own conception. “Proud self-sufficiency,” she signs in the song's final verse, nearly unaccompanied. “My silhouette is oval/It is a gate.” Though she is sharing another's company, this seems to be very much her world; she is determining the conditions for its existence, and forming its very substance." The Gate is Björk's third single (after "It's Oh So Quiet" and "The Comet Song") not to receive an official remix.
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The current line up of performers in Renaissance is Dragan Mlađenović, Georges Grujić and Ljubomir Dimitrijević on the woodwind instruments, Zoran Kostadinović on the vielle, Miomir Ristić and Srđan Stanić on the fiddle and the viol, Darko Karajić on the instruments from the family of lutes, Marcella Francesco-Lukić (mezzo-soprano), Predrag Đoković (countertenor), and Veljko Nikolić-Papa Nick on the percussion instruments. Some of the previous members of the ensemble include Vojka Đorđević (soprano), Ljudmila Gross-Marić (soprano), Dragana Jugović del Monaco (mezzo-soprano), Mirjana Savić (soprano), Mila Vilotijević (soprano), Gordana Kostić (soprano), Iskra Uzelac-Manojlović (soprano), Dušica Obradović (soprano), Miroslav Marković (baritone), Dragoslav Aksentijević-Pavle (domestikos), Svetislav Madžarević (lutes), Slobodan Vujisić (Serbian and Renaissance lutes), Ljubica Grujić (spinet and organ), Tea Dimitrijević (spinet and organ), Danijela Dejanović (spinet and organ), Dragan Karolić (woodwinds), Marko Štegelman (bagpipes), Zoran Kočišević (double bass), Vladimir Ćirić (percussion instruments), Boris Bunjac (percussion instruments), Jovan Horvat (percussion instruments) and others.
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The work is scored for a large orchestra: ;Woodwinds :piccolo :3 flutes :3 oboes :English horn :2 clarinets in B :D clarinet1 :bass clarinet :3 bassoons :contrabassoon ;Brass :4 horns in F and E :4 horns in D (ad libitum)2 :3 trumpets in F and C :3 trumpets in D (ad libitum)2 :3 trombones :tuba ;Percussion :timpani :bass drum :snare drum :cymbals :triangle :large ratchet ;Strings :violins I, II :violas :cellos :double basses 1Although the original score calls for a clarinet in D, the part is usually played on an E clarinet as the D clarinet is now rarely played. 2Strauss indicates four extra horns and three extra trumpets to be added ad libitum. The parts are to be played by separate players from the original four horns and three trumpets. There also exists a version for piano four-hands, which has been recorded by Percy Grainger and Ralph Leopold.
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Notes higher than this are entirely possible, but seldom written, as they are difficult to produce (often requiring specific reed design features to ensure reliability), and at any rate are quite homogeneous in timbre to the same pitches on cor anglais, which can produce them with relative ease. French bassoon has greater facility in the extreme high register, and so repertoire written for it is somewhat likelier to include very high notes, although repertoire for French system can be executed on German system without alterations and vice versa. The extensive high register of the bassoon and its frequent role as a lyric tenor have meant that tenor clef is very commonly employed in its literature after the Baroque, partly to avoid excessive ledger lines, and, beginning in the 20th century, treble clef is also seen for similar reasons. Like the other woodwinds, the lowest note is fixed, but A1 is possible with a special extension to the instrument—see "Extended techniques" below.
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In a review of Wang's 2011 Carnegie Hall debut, The New York Times wrote: In June 2012, Joshua Kosman of the San Francisco Chronicle wrote that Wang is "quite simply, the most dazzlingly, uncannily gifted pianist in the concert world today, and there's nothing left to do but sit back, listen and marvel at her artistry." From a May 2013 Carnegie Hall concert, The New York Times reported that Wang's "fortissimos were fearsome, but so, in a quieter way, were the longing melodic lines of the first movement of Rachmaninoff's Sonata No. 2." The reviewer added: > The liquidity of her phrasing in the second movement of Scriabin's Sonata > No. 2 eerily evoked the sound of woodwinds. In that composer's Sonata No. 6 > she juxtaposed colors granitic and gauzy to eerily brilliant effect before > closing the written program with a rabid rendition of the one-piano version > of "La valse", accentuating the sickliness of Ravel's distorted waltzes.
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The Second was originally modestly scored, requiring only a string orchestra and organ in addition to the soprano, tenor and bass soloists and the choir. It was not printed until 1845, some years after Schubert's death, and until then remained one of his less-noted compositions (so much so that that first edition was usurped by one by Robert Führer, director of music at Prague's St. Vitus Cathedral, a man who eventually landed in prison for embezzlement). But a 1980s discovery at Klosterneuburg of a set of parts dated later than Schubert's full score suggests that his final thoughts about the work were on a grander scale, with trumpet and timpani parts added and minor changes throughout. (The discovery led to recordings of the work by Sony Classical and Carus Classics, in 1995 and 1996 respectively, and to Carus- Verlag's publishing of the enhanced score.) Separately, Schubert's brother Ferdinand wrote parts for woodwinds, brass and timpani in response to the work's popularity.
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Loom shuttles, source of the form-marking sounds in Trans The overall course of the entire piece came to Stockhausen in a dream during the night of 9–10 December 1970. In the morning, he had an early appointment, but took the time to jot down briefly in words what he had heard and seen: "Dreamt orchestral work … orchestra sits in series … sound wall opens with different intervals at periods of about twenty seconds, allowing music behind this wall to come through—brass and woodwinds mixed—and I hear low instruments that are the fundamentals; in timbres they're colored like organ mixtures. With each low melodic line of one of the lower instruments there are several instruments in parallel, playing softer and coloring this low sound … at the same time I hear the sound of a weaving chair" . When he was asked by Otto Tomek to compose a piece for the Donaueschingen Festival the next October, Stockhausen first arranged to make some experiments for staging, lighting, and performing action in the hall there.
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The solo violin enters playing the tritone, which was known as the diabolus in musica ("the Devil in music") during the Medieval and Baroque eras, consisting of an A and an E—in an example of scordatura tuning, the violinist's E string has actually been tuned down to an E to create the dissonant tritone. The first theme is heard on a solo flute,[IMSLP full score, page 3] followed by the second theme, a descending scale on the solo violin which is accompanied by soft chords from the string section.[full score, page 4, 4th bar] The first and second themes, or fragments of them, are then heard throughout the various sections of the orchestra. The piece becomes more energetic and at its midpoint, right after a contrapuntal section based on the second theme,[full score, page 13, rehearsal letter C] there is a direct quote[full score, page 16, rehearsal letter D] played by the woodwinds of Dies irae, a Gregorian chant from the Requiem that is melodically related to the work's second theme.
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Born John Kane in London, he was the son of British music-hall entertainer Barry Kane. In 1933 he moved with his family to Canada where he began appearing as a singer with his father in vaudeville performances in Toronto at the age of 9. A year later he won a performance contest at the Roxy Theatre. In 1939 Kane entered the Toronto Conservatory of Music where he studied the clarinet with Herbert Pye through 1942. He began performing with the High Timers band in the early 1940s, making his radio debut with the group in 1941. From 1942-1945 he played in the Band of the Royal Canadian Corps of Signals and in 1945-1946 he led his own band, the Khaki Kollegians, which performed in entertainments for the Canadian Army. After the end of World War II, Kane resumed his musical studies with John Weinzweig with whom he studied music composition from 1946-1948. During these years he composed his first concert works, including two interludes for woodwinds (1947) and a string quartet (1948).
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In 2016, Threadgill's composition In for a Penny, In for a Pound was awarded the Pulitzer Prize for Music. In July 2016, he received the Vietnam Veterans of America Excellence in the Arts Award at the VVA National Leadership Conference in Tucson. "Run Silent, Run Deep, Run Loud, Run High" (conducted by Hale Smith) and "Mix for Orchestra" (conducted by Dennis Russell Davies), were both premiered at the Brooklyn Academy of Music in 1987 and 1993 respectively. He has had commissions from Mordine & Company in 1971 and 1989, from Carnegie Hall for "Quintet for Strings and Woodwinds" in 1983 and 1985, the New York Shakespeare Festival in 1985, Bang on a Can All-Stars in 1995, "Peroxide" commissioned by the Miller Theatre Columbia University in 2003 for "Aggregation Orb", a commission from the Talujon Percussion Ensemble in 2008, a piece "Fly Fliegen Volar" commissioned and premiered at the Saalfelden Jazz Festival with the Junge Philharmonie Salzburg Orchestra in 2007, a premier of the piece "Mc Guffins" with Zooid at the Biennale Festival in Italy in 2004 to name some.
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A collection of brass instruments The high malleability and workability, relatively good resistance to corrosion, and traditionally attributed acoustic properties of brass, have made it the usual metal of choice for construction of musical instruments whose acoustic resonators consist of long, relatively narrow tubing, often folded or coiled for compactness; silver and its alloys, and even gold, have been used for the same reasons, but brass is the most economical choice. Collectively known as brass instruments, these include the trombone, tuba, trumpet, cornet, baritone horn, euphonium, tenor horn, and French horn, and many other "horns", many in variously-sized families, such as the saxhorns. Other wind instruments may be constructed of brass or other metals, and indeed most modern student-model flutes and piccolos are made of some variety of brass, usually a cupronickel alloy similar to nickel silver/German silver. Clarinets, especially low clarinets such as the contrabass and subcontrabass, are sometimes made of metal because of limited supplies of the dense, fine-grained tropical hardwoods traditionally preferred for smaller woodwinds.
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Looking On is generally regarded as the hardest rocking and most eclectic album in the Move's catalogue, as it presents the band dabbling in heavy metal ("Brontosaurus"), blues ("When Alice Comes Back to the Farm", "Turkish Tram Conductor Blues"), prog-style epics ("Open Up Said the World at the Door"), soul ("Feel Too Good"), or, in the case of the title track, all four styles mashed together. It's also the first LP to feature both Roy Wood and Jeff Lynne as a tandem, with Wood’s use of cello and woodwinds and Lynne's piano in addition to their usual guitars and vocals, anticipating the work they would later pursue in The Electric Light Orchestra, whose debut album they were starting to record at around the same time. The jazzy fills on the title track also serve as a signpost of the style that Wood would later develop in Wizzard and the Wizzo Band. The Move was effectively a dead band walking when Lynne joined in February 1970 after fronting (and producing) The Idle Race.
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Sketches from an Island 2 is a balearic downtempo record with more of a "relaxed mood" than its predecessor, according to Resident Advisor. The Ibiza island concept is also symbolized by what Pitchfork critic Andy Beta described as the album's "beautiful, spare melodicism". He wrote that "Forgotten Island" and "One Slow Thought", the album's final two cuts, were the most "evocative" works in Barrott's discography to date. He analyzed that "Over at Dieter's Place" uses instruments and sounds such as a pedal steel guitar, a mbira, birdcall, woodwinds, and a hand drum to "render" Ibiza's "bucolic miniatures" that Cluster, a group that musician Dieter Moebius was a part of, emulated in their works. The Arts Desk and the Financial Times spotlighted Sketches from an Island 2's "rich" combination of genres; "Der Stern, Der Nie Vergeht" (English: “the star that never fades”) is an ambient krautrock track, its instrumentation consisting of a talking drum, a fretless bass guitar, and a digital synthesizer lead melody that mimics an analog synth texture.
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Karlheinz Stockhausen in the electronic-music studio of WDR, Cologne in 1991 For centuries, instrumental music had either been created by singing, or using mechanical music technologies, such as drawing a bow across a string that is strung on a hollow instrument or plucking taut gut or metal strings (string instruments), constricting vibrating air (woodwinds and brass) or hitting something to make rhythmic sounds (percussion instruments). In the early twentieth century, electronic devices were invented that were capable of generating sound electronically, without an initial mechanical source of vibration. As early as the 1930s, composers such as Olivier Messiaen incorporated electronic instruments into live performance. While sound recording technology is often associated with the key role it played in enabling the creation and mass marketing of popular music, new electric and electronic sound recording technology was used to produce art music, as well. The musique concrète (French: “concrete music”), developed about 1948 by Pierre Schaeffer and his associates, was an experimental technique using recorded sounds as raw material.
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In a radio interview, Bevan stated that the Move had ceased playing all of their prior songs except for "I Can Hear the Grass Grow" and were now playing mostly originals except for a few re- arranged covers (such as "She's a Woman"), as the band transitioned from mainstream pop toward progressive rock with its new alignment. For the rest of the year, the Move concentrated on studio work, because they still owed one more album under their existing contract with Essex Music (David Platz) -- which Essex Music was planning to use to set up its own record label, Fly Records. To prepare for their new direction, Wood and Lynne overdubbed multiple instruments, including piano, woodwinds, sitar, and a Chinese cello that Wood had bought. However, before the third album Looking On, was completed, Arden signed the new Wood-Lynne-Bevan band (without Price, who was not under contract with the Move) to a three-album deal with the Harvest Records division of EMI that included a £25,000 (equivalent to £ in ).
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Musical notation serves as a set of directions for a performer, but there is a whole continuum of possibilities concerning how much the performer determines the final form of the rendered work in performance. Even in a conventional Western piece of instrumental music, in which all of the melodies, chords, and basslines are written out in musical notation, the performer has a degree of latitude to add artistic interpretation to the work, by such means as by varying his or her articulation and phrasing, choosing how long to make fermatas (held notes) or pauses, and — in the case of bowed string instruments, woodwinds or brass instruments — deciding whether to use expressive effects such as vibrato or portamento. For a singer or instrumental performer, the process of deciding how to perform music that has been previously composed and notated is termed "interpretation". Different performers' interpretations of the same work of music can vary widely, in terms of the tempos that are chosen and the playing or singing style or phrasing of the melodies.
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Dabo River Caprice is scored for the following orchestra: Woodwinds :Bangdi (梆笛) I, II :Qudi (曲笛) I, II :Hengxiao (横箫) I, II :Gaoyin sheng (soprano sheng; 高音笙) :Zhongyin sheng (alto sheng; 中音笙) :Zhongyin guan (alto guan; 中音管) :Diyin guan (bass guan; 低音管) I, II Plucked strings :Pipa (琵琶) I, II :Yangqin (扬琴) :Zhongruan (中阮) :Daruan (大阮) :Konghou (箜篌) Percussion :Timpani (定音鼓) :Vibraphone (颤音琴) :Xylophone (木琴) :Tubular bells (管钟) :Suspended cymbal (吊镲) :Maracas (沙锤) :Tambourine (铃鼓) :Temple block (大木鱼) :Pengling (碰铃) :Paigu (排鼓) :Yunluo (云锣) Voices :Folk soprano (民风女高音) :Folk tenor (民风男高音) Bowed strings :Gaohu (高胡) :Erhu (二胡) :Zhonghu (中胡) :Gehu (革胡) :Diyingehu (bass gehu; 低音革胡) Notably missing from the instrumentation are the suona family of instruments, the diyin sheng (bass sheng) and liuqin. Due to the limited adoption of gehu and diyingehu, many Chinese orchestras use the cello and double bass as substitutes for these parts.
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Slithery effects in the strings accompany Rigoletto as he brutally mocks the old man, who responds with his curse, leading to a final dramatic ensemble. In its great variety of tone and texture, its use of instrumental resources (the orchestra in the pit, an offstage band, and a chamber ensemble of strings on the stage), its dramatic pacing and the way the music is continuous rather than consisting of one "number" after another, this concise opening scene is unprecedented in Italian opera. The duet between Rigoletto and Sparafucile that opens the second scene of the first act is also unprecedented in its structure, being a free-ranging dialogue with melodies not in the voices but in the orchestra, on a solo cello, solo bass, and low woodwinds to create a distinctive sinister atmosphere. The famous quartet in act three is actually a double duet with each of the characters given a musical identity—the ardent wooing of the Duke, with the main melody, as Maddalena laughingly puts him off, while outside Gilda has a sobbing figure in her vocal line and her father implacably urges revenge.
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Kennedy and J. Bourne Kennedy (Eds.), The Concise Oxford Dictionary of Music (Oxford University Press, London 2007). a hybrid of the two forms that had occupied most of Mahler's creative life. Das Lied von der Erde is scored for a large orchestra, consisting of the following: ;Woodwinds :piccolo :3 flutes (3rd doubling 2nd piccolo) :3 oboes (3rd doubling cor anglais) :3 B clarinets :E clarinet :bass clarinet :3 bassoons (3rd doubling contrabassoon) ;Brass :4 horns :3 trumpets :3 trombones :tuba ;Percussion :4 timpani (used only in "Von der Schönheit") :bass drum :snare drum :cymbals :triangle :tambourine (used only in "Von der Schönheit") :tam-tam (used only in "Der Abschied") :glockenspiel ;Keyboards :celesta (used only in "Der Abschied") ;Voices :alto solo :tenor solo ;Strings :mandolin :2 harps :1st violins :2nd violins :violas :cellos :double basses (with low C string) Only in the first, fourth and sixth songs does the full orchestra play together. The celesta is only heard at the end of the finale, and only the first movement requires all three trumpets, with two playing in the fourth movement and none playing in the sixth.
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Although he made his first attempts at composition when he was six years old, Witt began serious composition while in high school, and was one of the first two male graduates of Ursuline School of Music’s music department, presenting a graduation recital of three compositions: Prelude, Lorelei- Reverie, and Syncaprice. In 1951 and 1952, Witt represented Juilliard in the Symposia of the International Federation of Music Students. In March 1951, his Divertimento for Three Woodwinds was presented at Yale University, and presented again a year later in New York under the auspices of the League of Composers. His Te Deum for Chorus and Brass Quintet was performed at the Symposia in 1952, and later that year was enthusiastically received at Carnegie Hall when performed by the New York Concert Choir, directed by Margaret Hillis. Commissioned by the Youngstown Philharmonic and premiered by them in February 1953, his Concerto Grosso (Concertato for Orchestra) was selected by the Juilliard faculty as the best composition by a graduate student composer, and was played at Juilliard’s commencement exercises in 1953"'Concerto Grosso' by Witt Played at Juilliard Exercises," Youngstown Vindicator, June 1, 1952.
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Opening of the Großvater-Tanz.Brodbeck, “Dvořák’s Reception in Liberal Vienna,” 97. Nors Josephson proposes similarities in form, key structure, and orchestration of the first movement of Dvořák’s Symphony No. 6 with Beethoven’s Symphony No. 3. He compares many of Dvořák’s themes with passages by Beethoven, as well as similar compositional techniques. “Aside from the Czech folk-song, Já mám koně, nearly all the principal motifs of Dvořák’s sixth Symphony can be traced back to … compositions by Beethoven and Brahms.”Nors Josephson, “On some apparent Beethoven reminiscences and quotations in Dvořák’s sixth symphony,” The Music Review 54, no. 2 (1993): 121. Many of Josephson’s comparisons involve transitional material, modulatory processes, and orchestration, emphasizing that Dvořák was influenced by Beethoven’s procedures, not just his melodies. “Dvořák frequently employed Beethovenian techniques as creative stimuli.”Nors Josephson, “On some apparent Beethoven reminiscences and quotations in Dvořák’s sixth symphony,” The Music Review 54, no. 2 (1993): 112–113. The second movement of Dvořák’s Symphony No. 6 has often been compared to the third movement of Beethoven’s Symphony No. 9 for its melodic shape, use of woodwinds, and the key structure (B major to D major).
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An Alpine Symphony is scored for a large orchestra consisting of: ;Woodwinds :4 flutes (3rd and 4th doubling piccolos) :3 oboes (3rd doubling English horn) :1 heckelphone :1 clarinet in E :2 clarinets in B :1 bass clarinet (doubling clarinet in C) :4 bassoons (4th doubling contrabassoon) ;Brass :8 French horns (horns 5–8 double Wagner tubas) :4 trumpets :4 trombones :2 tubas :12 offstage horns :2 offstage trumpets :2 offstage trombones ;Percussion : timpani (2 players) :snare drum :bass drum :cymbals :triangle :tam-tam :cowbells :wind machine :thunder machine :glockenspiel ;Keyboard :celesta :organ ;Strings :2 harps :18 violins I :16 violins II :12 violas :10 cellos :8 double basses Strauss further suggested that the harps and some woodwind instruments should be doubled if possible and indicated that the stated number of string players should be regarded as a minimum. The use of "Samuel's Aerophon" is suggested in the instrumentation listing. (Strauss probably misunderstood the name – it was originally called the Aerophor.) This long-extinct device, invented by Dutch flautist Bernard Samuels in 1911 to assist wind players in sustaining long notes without interruption, was a foot-pump with an air-hose stretching to the player's mouth.Del Mar, Richard Strauss, 107.
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The music score for ' was composed by Vince Guaraldi (except where noted) and conducted and arranged by John Scott Trotter. The score was recorded by the Vince Guaraldi Sextet on May 17, 1967, at United Western Recorders, featuring Frank Rosolino (trombone), John Gray (guitar), Ronald Lang (woodwinds), Monty Budwig (bass) and John Rae (drums). #"It's Spring"/"Charlie Brown Theme" (version 1) (Vince Guaraldi, Lee Mendelson) #"" (version 1, piano) #"" (version 2, vocal) #"School Days" (version 1, piano) (Will D. Cobb, Gus Edwards) #"Red Baron" #"Trio Ad-Lib" #"Psychiatric Vamp" (version 1) #"I Before E Except After C" #"Love Will Come" #"" (version 3, minor key) #"" (version 4, theme parody vocal) #"" (version 5, piano + flute) #"Pomp and Circumstance March: No. 1 in D" (Sir Edward Elgar) #"Psychiatric Vamp" (version 2) #"Schroeder Practices" #"Schroeder Plays" #"Psychiatric Vamp" (version 3) #"Peppermint Patty" (piano + horns) #"Psychiatric Vamp" (version 4) #"" (version 6, harpsichord) #"Charlie Brown and His All-Stars" (piano + brass) #"Charlie Brown Theme" (version 2) (Vince Guaraldi, Lee Mendelson) #"School Days" (version 2, horns) (Will D. Cobb, Gus Edwards) #"" (version 7, piano + saxophone, end credits) #"Fanfare Finish" No official soundtrack for ' was commercially released. However, "Peppermint Patty" (piano + horns) was made available as a bonus track on the 2005 CD release of Vince Guaraldi with the San Francisco Boys Chorus (1967).
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The symphony is scored for a very large orchestra: Distant choir ensemble, offstage : harp : 5 violins Woodwinds : piccolo : 3 flutes : 2 oboes : 3 clarinets in B (the 1st clarinet optionally playing A in the first movement) : tenor saxophone in B : baritone saxophone in B : 2 bassoons Brass : 4 horns in F : 6 trumpets in C : cornet in C (played by 5th trumpet) : 4 trombones : tuba Percussion : xylophone (optional) : 2 bells, high and low : timpani : triangle : Indian drum : piccolo timpano : snare drum : bass drum : cymbals : 2 tam-tams, light and heavy : B.U. Ensemble (spatially separated from the main orchestra): :: snare drum :: Indian drum :: bass drum :: cymbals :: tam-tam Chorus : sopranos : altos : tenors : basses Keyboards : celesta : Ether organ (optional) : quarter-tone piano : orchestral piano (4-hands) : solo piano : organ Strings : violins I, 12 to 18 players : violins II, 12 to 16 players : violas, 12 to 14 players : cellos, 10 to 12 players : double basses, 8 to 10 players : "extra" strings, on or off stage: :: violins, 2 players :: viola, 1 player The mixed chorus performs a setting of the hymn "Watchman" in the first movement and a wordless intonation of the hymn "Bethany" in the last movement. The first and last movements employ a spatially-separated ensemble of 5 violins and harp. The last movement employs a spatially-separated group of percussion.
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