Transcript Musical Term

Snare auditions begin Tuesday
January 28 4-5 in the Band Room
If you have a conflict let Mr. Miller
know
Congratulations to Meagan Parker
Drum Major of the 2014 Marching
Bobcats!
1A-Jeremy Sprinkle 37 seconds
1B-Jeremy Sprinkle 36 seconds
2A-McKayla Teague 59 seconds
2B-Emily Jeon 119 seconds
Tuesday April 29
Brass Ensemble, Flute Choir
6:00 PM
Thursday May 1
Jazz Band-6:00
Percussion Ensembles-6:45
Wind Ensemble-7:30
Check the “Missed Rehearsal” sheet
to see what you missed! Items on the
list can be made up on the next
Theory/Make-up Day
January 27
February 25
March 20
April 10
4:00-6:00
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In the Mood was written by Joe Garland
and made famous by The Glenn Miller
Orchestra
Written and recorded in
the 1930’s and 1940’s
Who's the lovin' daddy with the
beautiful eyes
What a pair o' lips, I'd like to try 'em
for size
I'll just tell him, "Baby, won't you
swing it with me"
Hope he tells me maybe, what a wing
it will be
So, I said politely "Darlin' may I
intrude"
He said "Don't keep me waitin' when
I'm in the mood"
First I held him lightly and we started
to dance
Then I held him tightly what a
dreamy romance
And I said "Hey, baby, it's a quarter
to three
There's a mess of moonlight, won'tcha share it with me"
"Well" he answered "Baby, don't-cha
know that it's rude
To keep my two lips waitin' when
they're in the mood"
In the mood, that's what he told me
In the mood, and when he told me
In the mood, my heart was skippin'
It didn't take me long to say "I'm in
the mood now"
In the mood for all his kissin'
In the mood his crazy lovin'
In the mood what I was missin'
It didn't take me long to say "I'm in
the mood now"
"Monday, Monday" is a 1966 song written
by John Phillips and recorded by The
Mamas & the Papas for their 1966 album If
You Can Believe Your Eyes and Ears. It was
the group's only number one hit on the
U.S. Billboard Hot 100.
Phillips said that he wrote the song quickly,
in about 20 minutes. This song includes
a false ending, when there is a pause
before the coda of the song, and goes up a
half note for the bridges and refrains of the
song. It was the second consecutive
number one hit song in the U.S. to contain
a false ending, succeedingGood Lovin' by
the Young Rascals.
Monday Monday, so good to me,
Monday Monday, it was all I hoped it would be
Oh Monday morning, Monday morning couldn't guarantee
That Monday evening you would still be here with me.
Monday Monday, can't trust that day,
Monday Monday, sometimes it just turns out that way
Oh Monday morning, you gave me no warning of what was to
be
Oh Monday Monday, how yould cou leave and not take me.
Every other day, every other day,
Every other day of the week is fine, yeah
But whenever Monday comes, but whenever Monday comes
You can find me cryin' all of the time
"Yesterday" is a song originally recorded by the
Beatles for their 1965 album Help!. Although credited to
"Lennon–McCartney", the song was written solely by Paul
McCartney. It remains popular today with more than
2,200 cover versions, and is one of the most covered
songs in the history of recorded music. At the time of its
first appearance, the song was released by the Beatles'
record company as a single in the United States but not
in the United Kingdom Consequently, whilst it topped the
American chart in 1965 the song first hit the British top
10 three months after the release of Help! in a cover
version by Matt Monro. "Yesterday" was voted the best
song of the 20th century in a 1999 BBC Radio 2 poll of
music experts and listeners and was also voted the No. 1
Pop song of all time by MTV and Rolling Stone magazine
the following year. In 1997, the song was inducted into
the Grammy Hall of Fame.
Broadcast Music Incorporated (BMI) asserts that it was
performed over seven million times in the 20th century
alone.
"Yesterday" is a melancholy acoustic guitar ballad about the
break-up of a relationship. McCartney is the only Beatle to
appear on the recording, and it was the first official
recording by the Beatles that relied upon a performance by a
single member of the band. He was accompanied by a string
quartet. The final recording was so different from other
works by the Beatles that the band members vetoed the
release of the song as a single in the United Kingdom.
(However, it was issued as a single there in 1976.) In 2000
McCartney asked Yoko Ono if she would agree to change the
credit on the song to read "McCartney–Lennon" in theThe
Beatles Anthology, but she refused.
Yesterday, all my troubles seemed so far away
Now it looks as though they're here to stay
Oh, I believe in yesterday
Suddenly I'm not half the man I used to be
There's a shadow hanging over me
Oh, yesterday came suddenly
Why she had to go
I don't know, she wouldn't say
I said something wrong
Now I long for yesterday
Yesterday love was such an easy game to play
Now I need a place to hide away
Oh, I believe in yesterday
Why she had to go?
I don't know, she wouldn't say
I said something wrong
Now I long for yesterday
"Alexander's Ragtime Band" is a song by Irving Berlin. It was
his first major hit, in 1911. There is some evidence, although
inconclusive, that Berlin borrowed the melody from a draft of
"A Real Slow Drag" by Scott Joplin that had been submitted to
a publisher.
Oh ma honey, oh ma honey,
Better hurry and let's meander.
Ain't you goin', ain't you goin'?
To the leader man, ragged meter man?
Oh ma honey, oh ma honey,
Let me take you to Alexander's
Grand stand brass band,
Ain't you comin' along?
Come on and hear, come on and hear,
Alexander's Ragtime Band.
Come on and hear, come on and hear,
It's the best band in the land!
They can play a bugle call like you never heard
before.
So natural that you want to go to war.
That's just the bestest band what am, honey lamb.
Come on along, come on along,
Let me take you by the hand.
Up to the man, up to the man,
Who's the leader of the band!
And if you care to hear the Swanee River played in
ragtime,
Come on and hear, come on and hear,
Alexander's Ragtime Band!
Oh ma honey, oh ma honey,
There's a fiddle with notes that screeches.
Like a chicken, like a chicken.
And the clarinet, is a coloured pet.
Come and listen, come and listen,
To a classical band what's peaches.
Come now, somehow,
Better hurry along!
Charles Randolph "Randy" Goodrum (born July 7, 1947 in Hot
Springs, Arkansas) is an American songwriter. Goodrum has
written (or co-written) numerous popular songs,
including Anne Murray's #1 hit "You Needed Me" (1978).
Anne Murray won the Grammy for Best Female Vocal with
Goodrum’s song "You Needed Me." The song was also
awarded song of the year from the Academy of Country
Music, and has received numerous other accolades. A 1999
remake of the song by Boyzone, reached #1 in Europe.
I cried a tear, you wiped it dry
I was confused, you cleared my mind
I sold my soul, you bought it back for me
And held me up and gave me dignity
Somehow you needed me
You gave me strength to stand alone again
To face the world out on my own again
You put me high upon a pedestal
So high that I could almost see eternity
You needed me, you needed me
And I can't believe it's you
I can't believe it's true
I needed you and you were there
And I'll never leave, why should I leave?
I'd be a fool 'cause I finally found someone
who really cares
You held my hand when it was cold
When I was lost you took me home
You gave me hope when I was at the end
And turned my lies back into truth again
You even called me "friend"
"Rainbow Connection" is a song written
by Paul Williams and Kenneth Ascher and
originally performed by the character
of Kermit the Frog (Jim Henson) in The
Muppet Movie in 1979.
Why are there so many
Songs about rainbows
And what's on the other side
Rainbow's are visions
They're only illusions
And rainbows have nothing to hide
So we've been told and some chose to
Believe it
But I know they're wrong wait and see
Someday we'll find it
The Rainbow Connection
The lovers, the dreamers and me
Who said that every wish
Would be heard and answered
When wished on the morning star
Somebody thought of that
And someone believed it
And look what it's done so far
What's so amazing
That keeps us star gazing
What so we think we might see
Someday we'll find it
That Rainbow Connection
The lovers the dreamers and me
Have you been half asleep
And have you heard voices
I've heard them calling my name
Are these the sweet sounds that called
The young sailors
I think they're one and the same
I've heard it too many times to ignore it
There's something that I'm supposed to be
Someday we'll find it
The Rainbow Connection
The lovers, the dreamers and me
Overture (French ouverture; German Ouvertüre,
Vorspiel; Italian overtura; i.e. opening) in music is
the term originally applied to the instrumental
introduction to an opera. During the early
Romantic era, composers such
as Beethoven and Mendelssohn began to use the
term to refer to independent, self-existing
instrumental, programmatic works that presaged
genres such as the symphonic poem. These were
"at first undoubtedly intended to be played at the
head of a programme".
moderato
mod·e·ra·to adv. & adj. Music Abbr. mod. In
moderate tempo that is slower than allegretto but
faster than andante. Used chiefly as a direction.
[Italian, from Latin modertus, moderate;
see moderate.]
ani·man·do
adjective or adverb \
: becoming animated —used as a direction in
music
It, animating, fr. L animandium, gerund
of animare
Maestoso is an Italian musical term and is used to direct performers to
play a certain passage of music in a stately, dignified and majestic fashion
(sometimes march-like) or, it is used to describe music as such. Maestoso
also is associated with the advent of Classicism, Romanticism, and the
newer forms of Neo-Classicism and Neo-Romanticism. The interpretation
of "Maestoso" is varied by the conductor depending upon the overall style
in which the piece is written. Used as more of an interpretive choice, this
term is not always associated with a specific tempo or tempo range. The
term is commonly used in relatively slow pieces, but there are many
examples - such as the first movement of Mozart's Flute Concerto no. 1 in which a faster tempo can be played in such maestoso.
Piu mosso
pyoo MOE-soe
[Italian]
A directive to a performer that the music of the
indicated passage should have more motion, it
should move more quickly.
an·dan·te (än-dänt, n-dnt) Musicadv. &
adj. Abbr. and.In a moderately slow tempo,
usually considered to be slower than allegretto
but faster than adagio. Used chiefly as a direction.
n.An andante passage or movement.
[Italian, from present participle of andare, to walk,
ultimately perhaps from Latin ambulre;
see ambhi in Indo-European roots.]
Cantabile is a musical term meaning literally
"singable" or "songlike" (Italian). It has several
meanings in different contexts. In instrumental
music, it indicates a particular style of playing
designed to imitate the human voice. For 18thcentury composers, the term is often used
synonymously with "cantando" (singing), and
indicates a measured tempo and
flexible, legato playing. For later composers,
particularly in piano music, cantabile indicates the
drawing out of one particular musical line against
the accompaniment (compare counterpoint).
Allegro – fast, quickly and bright (109–132 BPM)
non troppo- not too much
Adagio – slow and stately (literally, "at ease") (55–
65 BPM)
Allegretto – moderately fast (98–109 BPM)
Tutti- All play (end of solo)
Dixieland music / New Orleans Jazz, sometimes
referred to as Hot jazz or Early Jazz, is a style
of jazz music which developed in New Orleans at
the start of the 20th century, and was spread to
Chicago and New York City by New Orleans bands
in the 1910s.
Well-known jazz standard songs from the
Dixieland era, such as "Basin Street Blues" and
"When the Saints Go Marching In", are known even
to non-jazz fans. Beginning with Dixieland,
Riverboat jazz and to Chicago-style jazz or hot
jazz as developed by Louis Armstrong and others.
Chicago-style jazz or hot jazz was also a
transition and combination of 2-beat to 4-beat,
introducing Swing in its earliest form.
Ragtime (alternatively spelled rag-time or rag time) is a musical genre
that enjoyed its peak popularity between 1895 and 1918. Its main
characteristic trait is its syncopated, or "ragged," rhythm. It began as
dance music in the red-light districts of African American communities
in St. Louis and New Orleans years before being published as popular
sheet music for piano. Ernest Hogan was an innovator and key pioneer
who helped develop the musical genre, and is credited with coining the
term ragtime. Ragtime was also a modification of the march made
popular by John Philip Sousa, with additional polyrhythms coming from
African music. The ragtime composer Scott Joplin became famous
through the publication in 1899 of the "Maple Leaf Rag" and a string of
ragtime hits such as "The Entertainer" that followed, although he was later
forgotten by all but a small, dedicated community of ragtime aficionados
until the major ragtime revival in the early 1970s. For at least 12 years
after its publication, the "Maple Leaf Rag" heavily influenced subsequent
ragtime composers with its melody lines,harmonic progressions or metric
patterns.
An arpeggio is a musical technique
where notes in a chord are played or
sung in sequence, one after the
other, rather than ringing out
simultaneously. This word comes
from the Italian word "arpeggiare",
which means "to play on a harp." An
alternative translation of this term is
"broken chord."
A ballad is a form of verse, often a narrative set
to music. Ballads derive from the
medieval French chanson balladée or ballade, which
were originally "dancing songs". Ballads were particularly
characteristic of the popular poetry and song of the
British Isles from the later medieval period until the 19th
century and used extensively across Europe and later
the Americas, Australia and North Africa. Many ballads
were written and sold as single sheet broadsides. The
form was often used by poets and composers from the
18th century onwards to produce lyrical ballads. In the
later 19th century it took on the meaning of a slow form
of popular love song and the term is now often used as
synonymous with any love song, particularly the pop or
rock power ballad.
Medley (music), multiple pieces strung together
In music performance and notation, legato (Italian for
"tied together") indicates that musical notes are played
or sung smoothly and connected. That is, the player
transitions from note to note with no intervening silence.
Legato technique is required for slurred performance,
but unlike slurring (as that term is interpreted for some
instruments), legato does not forbid rearticulation.
Standard notation indicates legato either with the
word legato, or by a slur (a curved line) under notes that
form one legato group. Legato, like staccato, is a kind
of articulation. There is an intermediate articulation
called either mezzo staccato or non-legato.
Crescendo, abbreviated cresc., translates as "gradually
becoming louder", anddiminuendo, abbreviated dim.,
means "gradually becoming softer".
Swing, is a form of American music that developed in the
early 1930s and became a distinctive style by 1940.
Swing uses a strong rhythm section of double bass and
drums as the anchor for a lead section
of brass instruments such as trumpets and
trombones, woodwinds including
saxophones and clarinets, and sometimes stringed
instruments such as violin and guitar, medium to
fast tempos, and a "lilting" swing time rhythm. The name
swing came from the phrase ‘swing feel’ where the
emphasis is on the off–beat or weaker pulse in the music
(unlike classical music). Swing bands usually
featured soloists who would improvise on the melody
over the arrangement.
ac·cel·er·an·do (ä-chl-ränd) Musicadv. &
adj.Gradually accelerating or quickening in time. Used
chiefly as a direction.
pres·to (prst)adv.1. Music In a very fast tempo, usually
considered to be faster than allegro but slower than
prestissimo. Used chiefly as a direction.
2. So suddenly that magic seems involved; right away.
n. pl. pres·tos MusicA passage or movement that is
performed presto.
[Italian, from Late Latin praestus, quick, from
Latin praest, at hand; see ghes- in Indo-European roots.]
gran·di·o·so (gränd-s, -z, grn-)adv. & adj. MusicIn a
grand and noble style. Used chiefly as a direction.
[Italian; see grandiose.]
Program music or programme music is a type of art
music that attempts to musically render an extramusical narrative. The narrative itself might be offered
to the audience in the form of program notes, inviting
imaginative correlations with the music. A paradigmatic
example is Hector Berlioz's Symphonie fantastique,
which relates a drug-induced series of morbid fantasies
concerning the unrequited love of a sensitive poet
involving murder, execution, and the torments of Hell.
The genre culminates in the symphonic works of Richard
Strauss that include narrations of the adventures of Don
Quixote, Till Eulenspiegel, the composer's domestic life,
and an interpretation of Nietzsche's philosophy of
the Superman. Following Strauss, the genre declined and
new works with explicitly narrative content are rare.
Nevertheless the genre continues to exert an influence
on film music, especially where this draws upon the
techniques of late romantic music.
len·to (lnt) Music adv. & adj. In a slow tempo. Used
chiefly as a direction.
n. pl. len·tos A lento passage or movement.
[Italian, from Latin lentus, slow.]
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Was born on March 26, 1923
He was born in Traskwood,
Arkansas
He dropped “James” from his
composing name because he
thought it sounded more
distinguished.
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Williams received his education at
Louisianna State University studying
composition and horn. After
graduation he continued his studies
at the Eastman School of music
where he studied with Bernard
Rogers, Howard Hanson and Arkady
Yegudkin.
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Williams has a many
important pieces for band
including: Arioso, Caccia
and Chorale, Fanfare and
Allegro, the Sinfonians,
and Symphonic Suite.
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Dedicatory Overture was
written in the 1960’s and was
commisioned by the Epsilon
Upsilo Chapter of Phu Mu
Alpha Sinfonia at Evansville
College Indiana, for use in
services dedicating a new
music building.
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The first performances of Dedicatory
Overture took place during the spring of
1963 by the Evansville College Concert Band
under the direction of Wesley Shepard.
Williams used Evansville College’s alma mater
as the thematic material to compose the
piece.
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Alex Shapiro (born January 11, 1962 in New
York City) composes acoustic and
electroacoustic music favoring combinations
of modal harmonies with chromatic ones, and
often emphasizing strong pulse and rhythm.
She was educated at the Juilliard
School and Manhattan School of Music as a
student of Ursula Mamlok and John
Corigliano.
The majority of Shapiro's catalog is chamber
works, and since 2008 she has also
composed several commissions for
symphonic wind band, several of which
include the use of prerecorded electronics.
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What do teenagers like? Video games, TV, and
movies. What do all these media have in common?
Music!
I was thrilled to have a chance to add to the
educational band music repertoire, thanks to the
American Composers Forum's terrific BandQuest
series. In my desire to compose something
relevant to younger players, I decided to create a
piece that sounds somewhat like a movie
soundtrack, to which the musicians can imagine
their own dramatic scene. I also thought it would
be fun to make the kids themselves part of the
action, and so "Paper Cut" has the band doing
choreographed maneuvers that look as
compelling as they sound. In fact, the band
members don't even play their instruments until
halfway into the piece.
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Music isn't just melody; it's rhythm and texture as well. The
unusual element of paper and the myriad sounds that can
emerge from something so simple, offer a fresh view of what
music-making can be and opens everyone's ears to the sonic
possibilities found among everyday objects.
With a nod to environmentalism, "Paper Cut" might even remind
people to avoid waste and recycle. Players can collect paper that
would have otherwise ended up in the trash, and bring it to
rehearsals. The piece might even be therapeutic, as students can
take out their aggressions by ripping up bad grades and test
scores!
Although "Paper Cut" was composed with middle schoolers in
mind, it's also suited to more advanced musicians, since the
paper techniques and the skill of playing against a prerecorded
track are interesting for all ages. I'm delighted to introduce a
new approach to concert wind band repertoire, and I hope that
conductors and band members have as much fun with this piece
as I had creating it.
Alex Shapiro
Summer, 2010
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Elton John, Tim Rice and Hans Zimmer wrote
the music, lyrics and original score of
Disney’s The Lion King.
Time Rice is a long time associate with
broadway composer Andrew Loyd Weber
Released in 1994 The Lion King features the
hit songs: Circle of Life, I Just Can’t Wait to be
King, Be Prepared, Hakuna Matata, Can you
Feel the Love Tonight, and King of Pride
Rock.
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Andrew Boysen, Jr. is presently an assistant
professor in the music department at the
University of New Hampshire, where he conducts
the wind symphony and teaches conducting,
composition and orchestration. Previously, Boysen
served as an assistant professor and Acting
Associate Director of Bands at Indiana State
University, where he directed the Marching
Sycamores, conducted the symphonic band and
taught in the music education department. Prior
to that appointment, he was the Director of Bands
at Cary-Grove (IL) High School and was the music
director and conductor of the Deerfield
Community Concert Band. He remains active as a
guest conductor and clinician, appearing with
high school, university and festival ensembles
across the United States and Great Britain.
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Boysen earned his Doctor of Musical Arts
degree in wind conducting at the Eastman
School of Music, where he served as
conductor of the Eastman Wind Orchestra and
assistant conductor of the Eastman Wind
Ensemble. He received his Master of Music
degree in wind conducting from
Northwestern University in 1993 and his
Bachelor of Music degree in music education
and music composition from the University of
Iowa in 1991.
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He maintains an active schedule as a composer,
receiving commissions from the Herbert Hoover
Presidential Library, the Cedar Rapids Metropolitan
Orchestra Festival, the Iowa All-State Band, the Rhode
Island All-State Band, the Nebraska State Bandmasters
Association, and many university and high school
concert bands across the United States. Boysen won
the International Horn Society Composition Contest in
2000, the University of Iowa Honors Composition Prize
in 1991 and has twice won the Claude T. Smith
Memorial Band Composition Contest, in 1991 for I Am
and in 1994 for Ovations. Boysen has several
published works with the Neil A. Kjos Music Company,
Wingert-Jones Music and Ludwig Music, including
pieces for band, orchestra, clarinet and piano, and
brass choir. Recordings of his music appear on the
Sony, R-Kal, Mark, St. Olaf and Elf labels.
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I Am was commissioned by Craig Aune and the Cedar
Rapids Prairie High School Band of Cedar Rapids, Iowa in
February, 1990. It was written in memory of Lynn Jones, a
baritone saxophone player in the band who was killed in
an auto accident during that winter. The work is basically
tonal in nature, but includes extended techniques such as
an aleatoric section and singing from members of the
ensemble. The aleatoric section is intended to represent
the foggy morning of the crash in which Jones died. The
words "I Am" are taken from a poem that he wrote just
days before his death. The piece is not intended in any
way to be an elegy. Instead, it is a celebration, a
reaffirmation, of life.
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I Am
Life, Music, Competition.
I like exciting things, and doing good for others.
Beauty, Successfulness and Smartness are important to me.
I like to achieve recognition.
I can succeed if I really put my mind to it.
I am very set in my ways,
But I can change when I realize my ignorance.
I like a simple nonchalant lifestyle.
I hate ignorance.
I hate structuredness.
This is me. I am!
-Lynn Jones
January, 1990
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Julie Ann Giroux was born in Fairhaven, Mass
on Dec. 12, 1961 and began playing the
piano a few years later. By the age of 8, she
began composing. Several years and family
relocations later, Julie attended Jack Hayes
Junior High School. She composed her first
Concert Band Work in the 8th grade at the
age of 13. She attended Ouachita Parish High
School in Monroe, Louisiana graduating in
1979. She played the French Horn in the
school bands and played piano for the Choir
all the while composing various types of
music, including piano works, band works,
solo instrumental works and vocal works.
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Julie attended college at Louisiana State
University receiving her bachelors degree in
music performance, all the while continuing
to compose band and orchestra works. At
this time, she also began composing
commercially. In 1981 she published her first
band work. Literally days after college
graduation, Julie had the opportunity to
arrange & conduct several arrangements for
a live ESPN broadcast for the National
Sportsfest held in Baton Rouge, Louisiana.
Composer Bill Conti had also been hired to
compose and conduct music for the same
event. Shortly after that, Mr. Conti invited
Julie out to Hollywood to work on the miniseries "North and South."
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Julie went on to compose & orchestrate music for many
Television and Films and received her first of three
Emmy nominations in 1989-1990. In 1991-1992, Julie
won an Emmy Award for
"Outstanding Individual Achievement in Music
Direction" for the 64th Annual Academy Awards, ABC."
When she won her first Emmy Award, she was the first
woman and the youngest person ever to win the award
in that category. A member of the American Society of
Composers, Authors, and Publishers (ASCAP), her
credits include White Men Can't Jump, Masters of the
Universe, North & South & North & South II, Broadcast
News, Blaze, Dynasty and multiple Academy & Emmy
Awards shows. During her career Julie has had the
honor of scoring for Celene Dion, Paula Abdul, Jerry
Orbach, Dudley Moore, Liza Minelli, Bryan Adams,
Peabo Bryson, Angela Lansbury, Jon Bon Jovi, Madonna,
Reba McIntyre, Little Richard, Billy Crystal, Michael
Jackson and many, many others.
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Ms. Giroux is an extremely well rounded composer
with works for Symphony Orchestras (including
chorus), Chamber music, Wind Ensembles, Soloists,
Brass and Woodwind Quintets and many other serious
and commercial formats. Her first published work
"Mystery on Mena Mountain" with Southern Music
Company was composed while still in college. Since
that time, she has composed and published numerous
works for professional wind ensembles, military
bands, colleges, public schools and professional
orchestras.
In 1998, Ms. Giroux decided to go back to her roots
full time, composing primarily for Concert Bands,
Wind Ensembles and other various "serious" forms of
music.
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Before the Sun is a descriptive piece about a large
family who lives on a country farm. The piece focuses
on all the emotional and physical events which
happen before the sun rises and after it sets. The
beginning of the piece opens with the ending hours of
night. The first light from the farmhouse reflects off
the morning dew. The family cats and dogs gather at
the back door in anticipation of breakfast scraps and
affections. Parents stand in their children’s bedroom
doorways, enjoying watching them sleep, waiting just
an extra minute before beginning the day.

The buildup to sunrise begins. The piano solo depicts
the silence of not just the family but of nature and the
world itself, like one giant entity holding its breath in
a moment of respect and awe waiting to experience
the sunrise. The first rays of light commence and
grows into the full glory of day with the sun’s theme.
Daytime doesn’t last long and fades out, which begins
the wind down of the day. The lullaby represents
children falling asleep and exhausted parents doing
likewise. The piece ends with a recap of the sun’s
theme as a promise of its return.
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Edward Freytag holds a Bachelor of Science Degree in Music
Education (instrumental/vocal) from the University of Tennessee At
Chattanooga (1976) and a Master of Music Degree in Jazz & Studio
Performance from the University Of Tennessee At Knoxville (1990)
where he studied with renowned jazz educator, Jerry Coker and
drum set guru, Keith Brown. Mr. Freytag was Associate Director of
Bands and Instructor of Percussion & Jazz at Cleveland
Junior/Senior High Schools in Cleveland, Tennessee from 1976 to
1989. While in tenure at CHS, his marching and concert percussion
ensembles and jazz groups received consistent superior ratings
and first place awards.
He has taught applied percussion at Tomlinson College, Lee
University, Cumberland University and was the Professor of
Percussion at the University of Tennessee At Chattanooga during
1990 and 1991. Mr. Freytag has been a percussion section member
of both the Knoxville Symphony and the Chattanooga Symphony
Orchestras. He also has an extensive background as an adjudicator
and clinician in both the percussion and jazz areas.
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Mr. Freytag has performed and toured extensively
throughout the United States, Russia, Germany, England
and the Caribbean Islands with such well-known artists as
Liberace, Benny Goodman, Dizzy Gillespie, Randy Brecker,
Eliane Elias, Steve Allen, to name a few. He has done
openings for the likes of Kenny Chesney, Ray Stevens, Joe
Diffie, Eddie Money, Tracy Lawrence, Rick Trevino, Billy
Dean, Shaver, Radney Foster, Lorrie Morgan, Restless Heart,
Martina McBride, Eddie Arnold, and Leroy Parnell. He is the
founder of BOD Productions, Guru Graphics, Serious
Percussion Publications, and is currently working as a
freelance percussion artist and studio musician, private
instructor, percussion and jazz clinician, and staff writer
for Row-Loff Productions in Nashville, Tennessee. Mr.
Freytag is also currently the Director of Bands and Fine Arts
Chair at LaVergne High School in LaVergne, Tennessee.
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He currently plays percussion for the Queen of
Soul, Aretha Franklin. He is the author of "The
Rudimental Cookbook" and "Just Desserts", the
definitive statements in rudimental drumming,
and has many published percussion ensembles on
state music lists across the nation. Mr. Freytag is
endorsed by Row-Loff Productions, KHS America
(Mapex Drums, Majestic Percussion, Jupiter
Horns), Evans Drumheads, HQ Percussion,
Innovative Percussion Sticks and Mallets, and
Humes & Berg. Mr. Freytag is an active member of
the Percussive Arts Society, Music Educators
National Conference, Middle Tennessee School
Band & Orchestra Association, Tennessee
Bandmasters Association, Middle Tennessee Vocal
Association, National Education Association,
Tennessee Education Association, and the
Rutherford Education Association.
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In western music, china type
cymbals are cymbals manufactured to
produce a dark, crisp, trashy, and
explosive tone. It is for this reason that
they have been nicknamed "trash
cymbals". Their origins can be traced back
to the gong in both sound and shape, and
thus they are given their name "china".
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David Steinquest, Professor of Percussion at APSU since 1985,
teaches all individual percussion lessons and conducts the
Percussion Ensemble and Jazz Combo. He is also coordinator of the
Mid-South Jazz Festival. Steinquest previously served as a faculty
member at Albion College, the University of Arkansas, and the
National Music Camp at Interlochen, and was a member of the
United States Military Academy Band at West Point. He holds a
Bachelor of Music Education from Northeast Louisiana University
and a Master of Music in Percussion Performance from the
University of Michigan.
Steinquest is an active freelance percussionist in the Nashville area,
performing frequently with the Nashville Symphony Orchestra
including their Carnegie Hall debut and the gala concerts at the
opening of the Schermerhorn Symphony Center. He served as
Acting Assistant Principal Percussionist in the 2005-2006 season.
Steinquest is also a studio musician, recording often for Row-Loff
Productions, Arrangers' Publishing Company, and the Nashville
String Machine. He is an educational endorser of Ross Mallet
Instruments and Vic Firth Sticks and appears frequently as a soloist
and clinician. Steinquest has numerous compositions and
arrangements published by Row-Loff Productions, Studio 4 Music,
and Pioneer Percussion. His works have been performed by the
Nashville Symphony percussion section and have been heard on the
PBS children's series "Mr. Rogers' Neighborhood."
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Julie Davila is a member of the chamber percussion ensemble the
CAIXA TRIO, winner of a 2011 "Drummie" award by Drum
Magazine. In addition to her membership in the CAIXA TRIO, she
currently serves on the Board of Directors for the Percussive Arts
Society and served as the chair of the Marching Percussion
Committee of the Percussive Arts Society from 1998 - 2007.
She is currently the battery arranger for the Music City Drum Corps,
Nashville, Tennessee and the percussion coordinator and arranger
for the Middle Tennessee State University Band of Blue Drumline.
Additionally, Julie is an adjunct professor of percussion at MTSU.
Prior to her work at MTSU, she was the percussion specialist at
several high schools in Nashville, Tennessee. Many of her groups
have medaled in all divisions of the WGI activity and in 1996 the
John Overton high school Indoor drum line, under her direction
won a National Championship. Julie is a member of the WGI
nationally recognized adjudication team and serves on the steering
committee for WGI Percussion. As a member of the Caixa Trio and
as an active clinician specializing in contemporary and marching
percussion, she has performed in Seoul, South Korea, Paris, France,
Puerto Rico, Mexico, Brazil and extensively throughout the United
States.
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Julie received her degree from the University of North Texas.
She has published numerous marching and concert percussion
features through Row-Loff Productions and Drop6 Media. She
is the author of the "Modern Multi-Tenor Techniques and
Solos" and "Impressions on Wood" published by Row-loff, and
is a co- author of "Aptitude" an innovative solo snare book
published by Drop 6 media. Julie is an endorser and clinician
for the Pearl Corporation, Innovative Percussion, the Avedis
Zildjian Company, Grover Pro Percussion and Evans Drum
Heads.
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(b. April 22, 1961)
Crock has been playing drums since
the 5th grade when he received his
first Slingerland blue-sparkle snare
drum. He attended McGavock HS in
Nashville, TN in the late 70's, around
the time that Drum Corps was really
catching on. He marched with the
Madison Scouts Drum and Bugle
Corps in '81 & '82 and attended
North Texas State University, (later
renamed UNT).

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From there Crock went on the road with the
Ice Capades where he met his wife, Louise.
Then on to touring with Louise Mandrell for
three years where he learned the fine art of
"looking good" while performing. In 1990,
seeing a void in entertaining yet educational
percussion literature, he and business
partner, Chris Brooks, co-founded Row-Loff
Productions. RLP soon became the global
publishing leader in percussion literature.
Since that time Crock has written and
arranged marching and concert percussion
for Row-Loff as well as Arranger's Publishing
Company. ( The guy's written a LOT of
percussion notes.)
He currently lives in Nashville with his wife,
their two daughters and WAY too many dogs.

(b. July 9, 1977)
John R. Hearnes (lovingly known at RLP as "Chime Boy") received
his first pair of drumsticks in 1989 when he joined band in Cape
Girardeau, MO. He studied percussion under Mark McHale and
Mark Ellison. After graduating from Central High School, John
studied at Southeast Missouri State University under Dr. Daniel
Dunavan, then earned a BME from Middle Tennessee State
University where he studied under Lalo Davila, David Brochocki,
Andy Smith, and Dr. Julie Hill. It was through Lalo Davila that John
met Chris Crockarell and Chris Brooks from Row-Loff Productions.
He began arranging and composing for RLP in 2002. Although his
works cover the spectrum of difficulty, John has focused on
increasing the amount of literature written for young players,
especially beginners.
John is currently a middle school band director in Rutherford
County, TN, a job he has held since 2001. He endorses Innovative
Percussion sticks and mallets. John is a composer, performer,
educator, clinician, adjudicator, and most importantly, still a
student on all facets of percussion. He lives in Murfreesboro, TN,
with his wife and their two sons.

Ludwig van
Beethoven German: baptised
17 December 1770 – 26 March 1827)
was a German composer and pianist. A
crucial figure in the transition between
the Classical and Romantic eras
in Western art music, he remains one
of the most famous and influential of
all composers. His best known
compositions include 9 symphonies,
5 concertos for piano, 32 piano
sonatas, and 16 string quartets.

Born in Bonn, then the capital of
the Electorate of Cologne and part of
the Holy Roman Empire, Beethoven
displayed his musical talents at an early
age and was taught by his father Johann
van Beethoven and Christian Gottlob Neefe.
During his first 22 years in Bonn,
Beethoven intended to study with Wolfgang
Amadeus Mozart and befriended Joseph
Haydn. Beethoven moved to Vienna in 1792
and began studying with Haydn, quickly
gaining a reputation as a virtuoso pianist.
He lived in Vienna until his death. In about
1800 his hearing began to deteriorate, and
by the last decade of his life he was almost
totally deaf. He gave up conducting and
performing in public but continued to
compose; many of his most admired works
come from this period.
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passe·pied
päsˈpyā/
Noun
1. A spirited dance in triple
meter, popular in France
and England in the 17th and
18th centuries, resembling a
minuet but faster.
2. Music for or in the rhythm
of this dance.

Georg Philipp Telemann (14 March 1681 – 25 June
1767) was
a German Baroque composer and multiinstrumentalist. Almost completely self-taught in
music, he became a composer against his family's
wishes. After studying in Magdeburg, Zellerfeld,
and Hildesheim, Telemann entered the University
of Leipzig to study law, but eventually settled on a
career in music. He held important positions
in Leipzig, Sorau, Eisenach, and Frankfurt before
settling in Hamburg in 1721, where he became
musical director of the city's five main churches.
While Telemann's career prospered, his personal
life was always troubled: his first wife died only a
few months after their marriage, and his second
wife had extramarital affairs and accumulated a
large gambling debt before leaving Telemann.

Telemann was one of the most prolific
composers in history (at least in terms of
surviving oeuvre) and was considered by
his contemporaries to be one of the
leading German composers of the time—
he was compared favorably both to his
friend Johann Sebastian Bach, who made
Telemann the godfather and namesake
of his son Carl Philipp Emanuel, and
to George Frideric Handel, whom
Telemann also knew personally.
Telemann's music incorporates several
national styles (French, Italian) and is
even at times influenced by Polish
popular music. He remained at the
forefront of all new musical tendencies
and his music is an important link
between the late Baroque and early
Classical styles.

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George Frideric Handel
23 February 1685 – 14 April 1759) was
a German-born
British Baroque composer famous for
his operas, oratorios, anthems and org
an concertos. Born in a family
indifferent to music, Handel received
critical training in Halle, Hamburg and
Italy before settling in London (1712)
as a naturalized British subject in
1727. By then he was strongly
influenced by the great composers of
the Italian Baroque and the middleGerman polyphonic choral tradition.

Within fifteen years, Handel had started three
commercial opera companies to supply the
English nobility with Italian opera. In 1737 he had
a physical breakdown, changed direction
creatively and addressed the middle class.
As Alexander's Feast (1736) was well received,
Handel made a transition to English choral works.
After his success with Messiah (1742) he never
performed an Italian opera again. Handel was
only partly successful with his performances of
English oratorio on mythical and biblical themes,
but when he arranged a performance
of Messiah to benefit London's Foundling
Hospital (1750) the criticism ended. It has been
said that the passion of Handel's oratorios is an
ethical one, and that they are hallowed not by
liturgical dignity but by moral ideals of
humanity. Almost blind, and having lived in
England for almost fifty years, he died in 1759, a
respected and rich man. His funeral was given full
state honours, and he was buried in Westminster
Abbey.

Handel is regarded as one of the greatest
composers of the Baroque era, with
works such as Water Music, Music for the
Royal Fireworks and Messiah remaining
popular. One of his four Coronation
Anthems, Zadok the Priest (1727),
composed for the coronation of George II
of Great Britain, has been performed at
every subsequent British coronation,
traditionally during the sovereign's
anointing. Handel composed more than
forty operas in over thirty years, and
since the late 1960s, with the revival of
baroque music and original
instrumentation, interest in
Handel's operas has grown.

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
Franz Joseph Haydn 31 March[ 1732 – 31 May
1809), known as Joseph Haydn,[ was
an Austrian composer, one of the most prolific
and prominent of the Classical period. He is often
called the "Father of the Symphony" and "Father
of the String Quartet" because of his important
contributions to these forms. He was also
instrumental in the development of the piano
trio and in the evolution of sonata form.
A lifelong resident of Austria, Haydn spent much
of his career as a court musician for the
wealthy Esterházy family on their remote estate.
Isolated from other composers and trends in
music until the later part of his long life, he was,
as he put it, "forced to become original" At the
time of his death, he was one of the most
celebrated composers in Europe.
Joseph Haydn was the brother of Michael Haydn,
himself a highly regarded composer, and Johann
Evangelist Haydn, a tenor. He was also a friend
of Wolfgang Amadeus Mozart and a teacher
of Ludwig van Beethoven.

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
re·gen·cy
Rējənsē
Noun
a government or period of
time in which a person
(called a regent) rules in
place of a king or queen


Over the Rainbow" (often referred to as "Somewhere
Over the Rainbow") is a classic Academy Awardwinning ballad, with music by Harold Arlen and lyrics
by E.Y. Harburg. It was written for the 1939 movie The
Wizard of Oz, and was sung by actress Judy Garland in
her starring role as Dorothy Gale.Over time, it would
become Garland's signature song.
About five minutes into the film, Dorothy sings the
song after failing to get her aunt and uncle to listen to
her relate an unpleasant incident involving her
dog,Toto, and the town spinster, Miss Gulch.
Dorothy's Aunt Em tells her to "find yourself a place
where you won't get into any trouble." This prompts
Dorothy to walk off by herself, musing to Toto, "'Some
place where there isn't any trouble.' Do you suppose
there is such a place, Toto? There must be. It's not a
place you can get to by a boat, or a train. It's far, far
away. Behind the moon, beyond the rain..." at which
point she begins singing.

Down by the Salley
Gardens (Irish: Gort na
Saileán) is a poem by William
Butler Yeats published in The
Wanderings of Oisin and
Other Poems in 1889.
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Yeats indicated in a note that it was "an attempt to
reconstruct an old song from three lines imperfectly
remembered by an old peasant woman in the village
of Ballisodare, Sligo, who often sings them to
herself." The "old song" may have been the ballad The
Rambling Boys of Pleasure[ which contains the
following verse:
"It was down by Sally's Garden one evening late I took
my way.'Twas there I spied this pretty little girl, and
those words to me sure she did say. She advised me to
take love easy, as the leaves grew on the tree .But I
was young and foolish, with my darling could not
agree.“
The similarity to the first verse of the Yeats version is
unmistakable and would suggest that this was indeed
the song Yeats remembered the old woman singing.
The rest of the song, however, is quite different.
Yeats's original title, "An Old Song Re-Sung", reflected
his debt to The Rambling Boys of Pleasure. It first
appeared under its present title when it was reprinted
in Poems in 1895.[4]

Down by the salley gardens my love
and I did meet;She passed the
salley gardens with little snowwhite feet.She bid me take love
easy, as the leaves grow on the
tree;But I, being young and foolish,
with her would not agree.In a field
by the river my love and I did
stand,And on my leaning shoulder
she laid her snow-white hand.She
bid me take life easy, as the grass
grows on the weirs;But I was young
and foolish, and now am full of
tears.

The verse was subsequently set to
music by Herbert Hughes to the
traditional air The Moorlough Shore in
1909. In the 1920s composer Rebecca
Clarke (1886–1979) set the text to
own music. The composer John
Ireland set the words to an original
melody in his cycle "Songs Sacred and
Profane", written in 1934. There is also
a vocal setting by the poet and
composer Ivor Gurney, which was
published in 1938; and another
by Benjamin Britten published in 1943