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Drum Line Snare auditions begin Tuesday January in the Band Room

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1 Drum Line Snare auditions begin Tuesday January in the Band Room If you have a conflict let Mr. Miller know

2 Drum Major Congratulations to Meagan Parker
Drum Major of the 2014 Marching Bobcats!

3 Theory Record Times 1A-Jeremy Sprinkle 37 seconds
1B-Jeremy Sprinkle 36 seconds 2A-McKayla Teague 59 seconds 2B-Emily Jeon 119 seconds

4 Tuesday April 29 Brass Ensemble, Flute Choir 6:00 PM
Spring Concerts Tuesday April 29 Brass Ensemble, Flute Choir 6:00 PM

5 Percussion Ensembles-6:45
Spring Concerts Thursday May 1 Jazz Band-6:00 Percussion Ensembles-6:45 Wind Ensemble-7:30

6 Absent? 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

7 January 27 February 25 March 20 April 10 4:00-6:00
Beach Trip Rehearsals January 27 February 25 March 20 April 10 4:00-6:00

8 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

9 In the Mood 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"

10 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't-cha 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"

11 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"

12 Monday, Monday "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.

13 Monday, Monday 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

14 Yesterday "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. 

15 Yesterday 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.

16 Yesterday 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

17 Alexander’s Ragtime Band
"Alexander's Ragtime Band" is a song by Irving Berlin. It was his first major hit, in 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.

18 Alexander’s Ragtime Band
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?

19 Alexander’s Ragtime Band
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!

20 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!

21 Randy Goodrum 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.

22 You Needed Me 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

23 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"

24 The Rainbow Connection
"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.

25 The Rainbow Connection
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

26 The Rainbow Connection
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

27 The Rainbow Connection
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

28 Musical Term 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".

29 Musical Term 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

30 Musical Term 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. 

31 Musical Term 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.]

32 Musical Term 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 18th-century 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).

33 Musical Term 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)

34 Musical Term 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.

35 Musical Term 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.

36 Musical Term 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."

37 Musical Term 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.

38 Musical Term 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.

39 Musical Term  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 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.

40 Musical Term  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.]

41 Musical Term Program music or programme music is a type of art music that attempts to musically render an extra-musical 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.

42 Musical Term 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.]

43 James Clifton Williams
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.

44 James Clifton Williams
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.

45 James Clifton Williams
Williams has a many important pieces for band including: Arioso, Caccia and Chorale, Fanfare and Allegro, the Sinfonians, and Symphonic Suite.

46 James Clifton Williams
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.

47 James Clifton Williams
The first performances of Dedicatory Overture took place during the spring of 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.

48 Alex Shapiro 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.

49 Alex Shapiro-Paper Cut
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.

50 Alex Shapiro-Paper Cut
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 

51 The Lion King 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.

52 Andrew Boysen, Jr. I Am 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.

53 Andrew Boysen, Jr. I Am 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.

54 Andrew Boysen, Jr. I Am 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.

55 Andrew Boysen, Jr. I Am I Am was commissioned by Craig Aune and the Cedar Rapids Prairie High School Band of Cedar Rapids, Iowa in February, 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.

56 Andrew Boysen, Jr. I Am 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

57 Julie Giroux, Before the Sun
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 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.   

58 Julie Giroux, Before the Sun
    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 mini- series "North and South."

59 Julie Giroux, Before the Sun
Julie went on to compose & orchestrate music for many Television and Films and received her first of three Emmy nominations in In , 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.

60 Julie Giroux, Before the Sun
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.

61 Julie Giroux, Before the Sun
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.

62 Julie Giroux, Before the Sun
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.

63 Edward Freytag 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 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 and 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.

64 Edward Freytag 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.

65 Edward Freytag 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.

66 China Cymbal 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".

67 David Steinquest 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 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."

68 Julie Davilla 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 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.

69 Julie Davilla 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.

70 Chris Crockarell (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).

71 Chris Crockarell 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.

72 John Hearnes (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 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 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.

73 Beethoven 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.

74 Beethoven 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 and began studying with Haydn, quickly gaining a reputation as a virtuoso pianist. He lived in Vienna until his death. In about 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.

75 Passepied 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.

76 Tellemann Georg Philipp Telemann (14 March 1681 – 25 June 1767) was a German Baroque composer and multi- instrumentalist. 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.

77 Tellemann 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.

78 Handel 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  By then he was strongly influenced by the great composers of the Italian Baroque and the middle- German polyphonic choral tradition.

79 Handel 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.

80 Handel 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.

81 Haydn 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.

82 Regency 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

83 Somewhere Over the Rainbow
Over the Rainbow" (often referred to as "Somewhere Over the Rainbow") is a classic Academy Award- winning 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.

84 Down By the Salley Gardens
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.

85 Down By the Salley Gardens
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]

86 Down By the Salley Gardens
Down by the salley gardens my love and I did meet;She passed the salley gardens with little snow- white 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.

87 Down By the Salley Gardens
The verse was subsequently set to music by Herbert Hughes to the traditional air The Moorlough Shore in 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

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