music anthology all parts ch

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Musical Journey - Parts

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Page 1: Music anthology all parts ch

Musical Journey - Parts

Page 2: Music anthology all parts ch

Musical Journey Anthology Introduction The Musical Journey Anthology has been commissioned as an educational and musical resource for creative music practitioners who work in second level schools and in the wider musical community. The Anthology is a collection of musical possibilities reflecting just some of the many instrumental tastes, interests and activities in school music making. We hope practitioners and young people alike will enjoy these possibilities offered in this musical journey! Contents Piece 1: Hard times here again no more: Foster/Daniel Dunne (C Major version). � Dunne/ PDST. Piece 2: Hard times here again no more: Foster/Daniel Dunne (D Major version). � Dunne/ PDST. Piece 3: Classroom Concertino: Michael Cummins. � Cummins/ PDST. Piece 4: Circle, Pattern, Line: Jonathan Nangle. � Nangle/ PDST. Piece 5: With or Without You: U2/Sue Furlong. Music by U2. Words by Bono. Published by Universal Music Publishing B.V. except Blue Mountain Music Ltd (UK), Mother Music (Irl.). � Furlong/ PDST. Piece 6: With or Without You: U2/Darragh O'Toole. Music by U2. Words by Bono. Published by Universal Music Publishing B.V. except Blue Mountain Music Ltd (UK), Mother Music (Irl.). � O'Toole/ PDST. Piece 7: Piece: Marian Ingoldsby. ��Ingoldsby/ PDST. Commissioned by the Professional Development Service for Teachers (PDST) in partnership with Music Generation and the County Cork School of Music.

Page 3: Music anthology all parts ch

Index of PartsHard times here again no more (C Major): Foster/Daniel Dunne! ! Page 4

Hard times here again no more (D Major): Foster/Daniel Dunne! ! Page 45

Classroom Concertino: Michael Cummins! ! ! ! ! Page 85

Circle, Pattern, Line!: Jonathan Nangle! ! ! ! ! ! Page 127

With or Without You: U2/Sue Furlong! ! ! ! ! ! Page 138

With or Without You: U2/Darragh O'Toole! ! ! ! ! Page 188

Bach meets Mozart and Friends: Marian Ingoldsby! ! ! ! Page 220

Page 4: Music anthology all parts ch

Hard TimesStephen Foster (Arr. D Dunne)

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3) Each circle is notated on a 6-line stave

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Page 133: Music anthology all parts ch

4) Performers use the 6-line stave as a key to ordering the harmonic material

5) Each performer chooses their own route through the score

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Performing the Piece

One or more players provide a steady, rhythmic pulse that starts and ends the piece. This could be on a drumkit or other un-pitched percussion instrument(s) or

could be one or more pitches played steadily on a tuned percussion instrument(s).

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With or Without YouU2 (Arr. Darragh O’Toole)

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With Or Without You(how to use this score)

This arrangement is designed to be as adaptable and flexible as possible. There are suggestions here to help to steer various approaches to performance based on the number of players and variety of instruments available.

The overall approach is that the performance should be fun, exciting and all-inclusive. The structure is built on simple rhythmic figures working together, and this includes body-percussion parts, such as hand-claps and foot-stomps, so that even students who do not play an instrument can get involved. In fact, the more the merrier.

Explanation of Score & Parts:

All transposing instruments are written in C in the score. But the individual parts are transposed correctly for each instrument.

The staves are numbered instead of being named for specific instruments. So, for example: the first staff line is no.1 and this is the melody. Staves 5,6,7 & 8 are percussion lines, etc.

Below is a detailed description of how to use each line. Again, the numbers correspond to each staff line.

Line 1.

This is the melody and therefore requires the most consideration. It is not the intention that all instruments play from beginning to end, but rather it is an opportunity for the teacher and students to experiment with blend and tone colour using the instruments they have available. For example, the first verse could be played by woods (or one section of the woods) or recorder alone, then at the chorus the brass could join in or perhaps take over, etc.

This approach should be experimented with throughout the piece. Of course as the dynamic level increases it will eventually require all instruments playing in unison in order to maintain a strong melodic presence, when this happens is, yet again, a choice to be made once the ensemble has got a sense of their own overall balance.

N.B The melody line is written in it's entirety in each of the individual parts. It is up to the teacher to instruct each player when they are to play and when they are to rest.

Woodwinds/Brass/Recorder

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Line 2.

This is the melody an octave lower (with the exception of the section titled Bridge Pt.2 (rehearsal mark G) where it fulfils it's own harmonic role). It is particularly useful as reinforcement when the dynamic level gets louder. Like line 1. It is up to the individual ensemble to decide when it is best employed and in which particular instrumental grouping.

Lines 3 - 4.

The strings are divided into a treble clef and bass clef in the score but the parts are given individually as Violin 1, Violin 2, Viola and Cello. Although the Viola and Cello parts will help to make the sound fuller they are not essential. And if there is an abundance of violins but no violas, a section of violins can easily play the viola part if the sound needs to be filled out.

Lines 5-8: percussion

This is where there is considerable room for creativity. The following are suggestions for each line depending on the numbers available, but as long as each line is performed clearly and distinctly, all manner of found percussion can be used.

Line 5.

If there is a reasonably sizeable number of students available to perform in each percussion section then the most recommended approach to this line would be using hand tapping. That is, as opposed to clapping where both hands move towards each other, this should be performed the following way: one hand is held stationary at a comfortable angle and is then patted with the other hand. This can become clapping later on in the song if it is being completely drowned out as the dynamic level increases. But this line should never be louder than lines 6 or 7.

There should be a very slight accented feel on every crotchet beat if possible. With smaller groups a hi-hat, or side drum with brushes may be used. Or try experimenting with different surfaces and objects.

When using hand-taps or multiple surfaces and instruments, it is important to strive for a crisp defined sound. If too much of a flam sound occurs the whole piece will sound muddy and ill-defined.

Woodwinds/Brass

Strings

Percussion 1

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Line 6.

This should be performed with hand-claps (and/or a side drum with sticks). It should be strident and enthusiastic. Yet again, other 'found' objects can be used if you wish to make it distinctive or unusual.

Line 7. This should have as equally an enthusiastic feel as line 6. It can be played using any low unpitched percussion instrument, such as a low tom or a small bass drum. Foot-stomps would also work if they are not too tiring for the performers (or they could perhaps be added over the bass drum or tom towards the climax of the piece to create some drama.) Yet again other objects may be used, as long as they produce a deep, percussive sound.

Line 8.

This line is completely optional as it may too difficult to perform at certain levels. Ideally it should be played by a competent performer shaking a tambourine. Or if it can be done without sounding too harsh or mechanical, a mounted tambourine (or similar) can be hit with sticks.

Line 9.

As the name would suggest, an electric bass is most suitable for this line. But in the absence of a bass guitar a keyboard with bass sounds would work perfectly well. Other than that a second piano may be used (transposed down an octave). Or if there is only one piano/keyboard the performer playing the piano part should maintain the eight-note bass line throughout, ignoring the left hand piano part as it is written, and if they find it manageable should also play in octaves from the point where the electric bass would have made its entry.

Piano.

The piano part is ideally suited for the teacher to play while guiding the performers as it introduces the tempo. It also doubles with other instruments when they have to

Percussion 2

Percussion 4

Electric Bass (or other)

Percussion 3

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play slightly trickier timings. That said, if there is a capable student they may play the part and free up the teacher altogether.

In addition: if there are multiple keyboards available, a pad or string sound can be used to double up with the real strings, and the rapid, repeated right-hand figure on the piano at rehearsal mark C could be played using a light chime or bell sound (and could even be introduced again over the bridge or final chorus).

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With Or Without You U2arrn. Daragh O'Toole

9.(Electric Bass/or other)

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With Or Without You U2arrn. Daragh O'Toole

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Page 199: Music anthology all parts ch

With Or Without You U2arrn. Daragh O'Toole

CLARINET : TRUMPET (Line 1)

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With Or Without You U2arrn. Daragh O'Toole

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Page 203: Music anthology all parts ch

With Or Without You U2arrn. Daragh O'Toole

Line 2. Trombone : Euphonium

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Page 205: Music anthology all parts ch

With Or Without You U2arrn. Daragh O'Toole

VIOLIN I

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Page 207: Music anthology all parts ch

With Or Without You U2arrn. Daragh O'Toole

VIOLIN II

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Page 209: Music anthology all parts ch

With Or Without You U2arrn. Daragh O'Toole

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Page 211: Music anthology all parts ch

With Or Without You U2arrn. Daragh O'Toole

VIOLA

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Page 213: Music anthology all parts ch

With Or Without You U2arrn. Daragh O'Toole

5.(Percussion)

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Page 215: Music anthology all parts ch

With Or Without You U2arrn. Daragh O'Toole

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Page 216: Music anthology all parts ch

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Page 217: Music anthology all parts ch

With Or Without You U2arrn. Daragh O'Toole

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Page 219: Music anthology all parts ch

With Or Without You U2arrn. Daragh O'Toole

8.(Percussion)

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Page 220: Music anthology all parts ch

Bach Meets MozartMarian Ingoldsby