Rental rates and agreements are determined by each individual orchestra. String Orchestra Full score is Broude Brothers ed. Salute to Bach, A: Cantata No. Score, solo flute, solo oboe, solo trumpet, solo harpsichord, solo violin,strings 2,2,3,3,2. Trpts I,II trans. Trpts in D:transp.
Stamitz Op. 3 No. 2 « www.A Level xyjyduma.tk
Score 1st movement , 2,2,2,2 — 2,2,0,0 timp, strings 8,11,6,8 cello and bass printed together, no solo piano. Score, 1,2,2,2 — 2,2,0,0 timp, flute part missing, no piano part, bass plays with cello. Score, 2,2,2,2 — 2,2,0,0 timp, strings 4,4,4,4 cello and bass printed together.
Clar,horn,trpt original and trans. Corelli: Sonata in C minor, Op. Eccles: Sonata in G minor G.
Handel: Sonata in G minor M. Marcello: 6 Sonatas J. Senaille: Allegro Spirituoso G. Telemann: Concerto in G major G. Telemann: Sonata in A minor G. Telemann: Sonata in D major G.
Telemann: Sonata in E minor G. Telemann: Sonata in F minor A. Vivaldi: 6 Sonatas A. Vivaldi: Concerto in A minor A. Vivaldi: Concerto in G major. Arpeggios in three octaves C, C , D, D - two octaves — different strokes, up to six notes slurred. Mihlaud: La creation du monde, Op. Beethoven: Sonata in F G. Capuzzi: Concerto in D major G. Capuzzi: Concerto in F major C. Dittersdorf: Concerto No. Hoffmeister: Concerto No. Keyper: Romance and Rondo W. Sperger: Concerto in D major No. Sperger: Sonata in D major, T38 J. Sperger: Sonata in D major, T39 J. Sperger: Sonata in D major, T40 W. Pichl: Concerto C.
Stamitz: Concerto in D major J. Vanhall: Concerto in D major. Mahler: Solo from Synphony No. Bottesini: Concerto No. Bottesini: Concerto di Bravura G.
Bottesini: Adagio melanconico appassionato G. Bottesini: Allegretto-Capriccio G. Bottesini: Bolero G. Bottesini: Capriccio di Bravura G. Bottesini: Carnival of Venice G. Bottesini: Elegy No. Bottesini: Elgy No. Bottesini: Fantasy on La sonnambula G. Bottesini: Introduction and Gavotte G. Bottesini: Melodia G. Bottesini: Tarantella in A minor G. Bruch: Kol Nidrei, Op. Fuchs: Sonata in B flat major S. Koussevitzky: Chanson Triste S. Koussevitzky: Concerto, Op. Koussevitzky: Valse Miniature A. Misek: Sonata No. Paganini: Moses Fantasy C. Stein: Concertpiece, Op.
A recital of minutes, which should contain at least one sonata or concerto, to be performed as at a concert. All major and minor scales three octaves C1 to D4 All major and minor arpeggios, at least two octaves Chromatic scales from B1 to D4 Whole-tone scales three octaves, starting on C1, and C 1 Diminished arpeggios, three octaves: a: C Eb Gb A b: C E G A c: D F Ab Cb Thirds, as in Taffanel-Gaubert, exercise 6A see figure 1 , to be played from memory in all major, harmonic minor and melodic minor keys Sixths, as in Taffanel-Gaubert, exercise 6B see figure 2 , to be played from memory in all major, harmonic minor and melodic minor keys.
One study from J. Anderson Op. Three contrasting works from different styles and periods, including a major sonata, concerto or comparable work and a work written after Three orchestral excerpts. A recital of minutes to be performed as at a concert. Long notes with and without vibrato All major, minor harmonic and minor melodic scales from the keynote to the highest note possible, down to the lowest note possible and back to the keynote legato.
- Troubleshooting Oracle Performance.
- The Narrative of Arthur Gordon Pym of Nantucket & An Antarctic Mystery (The Sphinx of the Ice Fields);
- The Right to Privacy (Point Counterpoint).
- Haydn, Franz Joseph.
All major and minor arpeggios legato. All dominant 7ths legato. Diminished 7ths legato starting on Bb, B and C 2 octaves. Chromatic scales legato, 2 octaves. Major sonatas eg. Albinoni, Corelli, Marcello, Vivaldi. Major orchestral excerpts eg. Long notes, octaves, slurs, awkward intervals. All major, minor harmonic and minor melodic scales in thirds legato.
Diminished 7ths starting on any given note. Chromatic scales starting on any given note all legato. Major sonatas including one modern eg. At least one unaccompanied work eg. Britten: Six Metamorphoses after Ovid, Op. Further orchestral excerpts with a view to covering all 3 of the Evelyn Rothwell Excerpt books.
1750 Stamitz Op. 3 No. 2
Attacks, control of dynamics, reliable entries. All scales and arpeggios from years 1, 2 and 3 in the following articulations: Legato Tongued 2 slurred, 2 tongued 2 tongued, 2 slurred. At least one major 20th century concerto eg. Goossens: Concerto, Op. Bozza Fantaisie Pas t o r a l e.
Brahms: Sonata in F minor, Op. All major and minor scales various articulations All major and minor arpeggios. Whole tone scales All dominant seventh, diminished seventh, and augmented arpeggios.
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Sca l e s — Major and minor harmonic to 4 sharps and flats. All major, minor harmonic and melodic , chromatic and whole tone scales All major and minor and minor arpeggios. Ludwig Milde: Concert Studies, Op. All major, minor, chromatic and whole tone scales Major scales in thirds to four sharps and four flats All major, minor, and diminished seventh arpeggios.
William Hurlstone Sonata M. All major and minor melodic and harmonic scales in keys up to four sharps and four flats. All major and minor scales in patterns and articulations as requested by the teacher. Flor Peeters: Sonata, Op. Kent Kennan: Sonata Solo compositions: Same as second year but of greater difficulty. Verne Reynolds: 48 Etudes for trumpet Smith: Top Tones A continuation of scale work at the discretion of the instructor. Beethoven: Sonata in F major, Op. Major and all forms of minor scales in keys up to four sharps and four flats.
Gallay: Twelve Grand Caprices, Op. V Gallay: Unmeasured Preludes. Sight-reading and transposition from appropriate orchestral excerpts. Brahms: Horn Trio in E flat major, Op. Proper attention will be given to rhythm, intonation, sound, and phrasing. The student is expected to own a quality instrument and mouthpiece, a metronome, a tuner, a recording device, and a mirror, and should use these tools in daily practice. Literature will focus on studies and etudes. Emphasis at this level is centered on consistency of correct fundamentals and development of more technical facility.
Emphasis at this level is on artistic performance, consistency, and more technical and musical facility. All the above items Blazhevich: 70 Etudes for Tuba, Vol. Programmes, signed by major study teachers, should be submitted to the Head of Department for approval at least four weeks before the assessment. Emphasis at this level is on technical and musical refinement, and individuality. Literature will continue to focus on advanced studies and etudes as well as solos and excerpts.
Emphasis at this level is on developing tuba fundamentals such as breathing, playing position, embouchure, and articulation, particularly how it applies to the contrabass CC tuba. The student is expected to own a quality mouthpiece chosen in consultation with the tuba instructor , a metronome, a tuner, a recording device, and should use these tools in daily practice.
Literature in the first semester will focus on studies, etudes, and orchestral excerpts with an emphasis on ensemble playing. Literature in the second semester will focus on solo repertoire. Study of the F-bass tuba will also be introduced as well as techniques on how to balance study and practice between contrabass CC , and bass F tuba playing. In addition to heightened awareness in large ensemble playing, students are expected to be significantly involved in the chamber music program. Emphasis at this level is on the development of an artistic persona, as well as further development of technical and musical fluency on both bass F and contrabass CC tubas.
The second semester will focus on the refinement of the junior recital, including advanced techniques on solo recital performance practice. Balanced Etude practice between CC and F tubas. The student will be given the tools needed for independent artistic development and will be encouraged to pursue their individual artistry, in solo, chamber, and orchestral contexts.
Particular concentration should be given to preparation of the senior recital, and towards audition preparation for professional orchestral auditions and graduate degree programs. In the first semester, the student should also begin planning and preparation for their senior recital. The second semester will focus on the refinement of the senior recital, including advanced techniques on solo recital performance.
Students are evaluated on individual and ensemble skills in all principal areas of percussion keyboard, snare drum, and timpani. The fundamental skills of intonation, ensemble sensitivity, proper utilization of the metronome, multi-tasking, sight-reading, stroke, sound production, and physical approach to the different instruments are all established or refined.
In the first two years, harp performance majors must perform a jury for the departmental faculty at the end of each academic year as prescribed below. All works are to be performed from memory with the exception of certain contemporary works which may be performed from score with written permission from the harp faculty. All major and minor scales All major and minor arpeggios Etudes and Studies.
A minute assessment to include technique as above and representative portions, as directed by the jury, of:. An assessment of minutes to include technique as above and representative portions, as directed by the jury, of. A recital of minutes of solo harp music and a one movement of standard harp concerto to be performed as at a concert.
Programmes, signed by major study teachers, should be submitted to the Head of Department for approval at least four weeks before the recital. A recital of minutes of solo harp music and a one movement of standard harp concerto, which should not exceed 60 minutes including an intermission. BMus and MMus composition students are required to compose 2 works each semester under the supervision of their studio teachers. During their studies, students are expected to compose for instrumentations ranging from solos to large ensembles, including orchestra. They should explore the various compositional approaches found in contemporary music but also use their semesterly projects as a means to discover and explore their own compositional interests.
Students are encouraged to incorporate traditional, folk and other instruments and ensembles available in the region, as well as computer music and live electronics in their compositions. In consultation with their studio teacher, students determine which instrumentations they will address each semester. Major study involves additional requirements including attendance at weekly composition seminars and other composition-focused events, musicianship skills training, and the Annual Reflection.
Instructors may also assign readings, analyses, journal writing, etc. These will form part of your weekly assessment grade. This document is available from the programme directly. Composition students are expected to have at least one performance or presentation, in case of installation pieces or other electroacoustic media not involving live performance of their composed works each semester, except for the 1st year students in their first semester. There are a number of opportunities organized by the programme each year. Students are encouraged to take advantage of these. Students should consult their major study teacher, mentor, or the Assistant Dean of Composition and Contemporary Music to determine an suitable performance opportunity noon recital, SoundBites, etc.
At the end of each semester, students are required to submit a portfolio of their works for jury grading. All portfolios are to be submitted to the Conservatory Academic Affairs Office.
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Late submissions will incur a penalty of half a letter grade per day. Guidelines for submitting the composition portfolio are listed below.
Students must follow the guidelines below when submitting their portfolios at the end of each semester for evaluation. If there are further questions concerning the submission of the portfolio, please direct them to your studio teacher.
Related Symphony No. 2 in D Major, Op. 13: Movt. 5
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