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Song of the Tides for junior high school level concert band
RSN:
58719
|
Composition Date:
2006
|
Revision Date:
N/A
|
Duration:
00:10:00
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Library Record
Programme Notes
Copies
Cataloguing Information
Call Number
MI 9400 C473so
Genre
Orchestra with Electronics / Multi-Media
Material Type
Print-music
Acquisition Date
2007-12-14
Library Collection Publisher / Label
Unpublished, printed by CMC / Inédit, imprimé par le CMC
Preview
Master Location
Toronto
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Physical Description
Found 2 record(s)
Available Actions
Extent of Item
30 parts ([89] p.) ;
1 score ([26] p.); 28 cm.
Instrumentation
Found 15 record(s)
Available Actions
Set No.
Category
Instrument
Number
30572
Larger ensemble
Concert Band/Wind Ensemble
1
30572
Electronic
Tape / Fixed media
1
40677
Woodwinds
Flute
3
40677
Woodwinds
Oboe
2
40677
Woodwinds
Bassoon
1
40677
Woodwinds
Clarinet
3
40677
Woodwinds
Bass clarinet
1
40677
Woodwinds
Saxophone
4
40677
Brass
Trumpet
3
40677
Brass
Horn
2
40677
Brass
Trombone
2
40677
Brass
Baritone/Euphonium
1
40677
Brass
Tuba
1
40677
Percussion
Percussion
3
40677
Electronic
Tape / Fixed media
1
Divided
No
Solo
No
Divided
No
Solo
No
Divided
No
Solo
No
Divided
No
Solo
No
Divided
No
Solo
No
Divided
No
Solo
No
Divided
No
Solo
No
Divided
No
Solo
No
Divided
No
Solo
No
Divided
No
Solo
No
Divided
No
Solo
No
Divided
No
Solo
No
Divided
No
Solo
No
Divided
No
Solo
No
Divided
No
Solo
No
Premiere
21/10/2006, Acadia University, Wolfville, NS; Acadia University Wind Ensemble, Conductor: Mark Hopkins
See Also
62780, Song of the tides, AR2705, Derek Charke, 00:11:09
"Song of the Tides" for junior high-school band and pre-recorded sounds of the Bay of Fundy and Nova Scotia's South Shore. The work is in two movements #1 Low Tide and #2 High Tide. The first or second movements can be played on their own, or the two movements can be joined to create a longer work.
The work is aimed towards younger players in grades 7 through 9 (junior high-school level).
The first movement is designed as workshop material that can be extracted and used by the band director as teaching material or for a class project. Students are asked to listen to the provided soundtrack that accompanies this movement and discover ways in which to imitate these sounds on their instruments. A selected group of soloists, or the entire ensemble, improvises over the soundtrack using sounds they have discovered. An additional option requires that students discover a way to notate these sounds using graphic notation and then create a score. This component of the composition will be different every time it is performed and allows the band some ownership of the score!
Movement 2 "High Tide" is fully composed and introduces extended techniques for younger players including glissandos, aeolian (air and breath) sounds, aleatoric notations and tapping on the bell of the instrument. A pre-recorded sound track plays only periodically during this movement.
The sound track includes wind, water, foghorns, seagulls and the sound of the tide roaring through the entrance of the Minas Basin at the tip of Cape Split, Nova Scotia.
Students are introduced to soundscapes, electroacoustic composition, graphic notation and improvisation. Pre-recorded sounds are played back on a CD player or using a laptop computer. The main body of the second movement consists of typical pandiatonic harmony and melody used in conjunction with acousmatic soundscapes. This allows the student to hear the use of 'traditional' band writing in conjunction with deeper listening soundscapes. Computers are increasingly important to the creation of music therefore incorporation of musique concrète underscores a crucial facet of contemporary teaching practice by integrating technology in formative years of musical studies.
Extended techniques are used as a teaching device aimed towards strengthening traditional performance practice. For example during the second movement almost all instruments must glissando down a step and return to the original pitch at some point in the composition. This teaches tuning and intonation - ideally when the student returns to the starting pitch intonation and tone improves as a result of 'finding the pitch'. Aeolian and breath sounds, blowing air in and out of the instrument at slow and regular intervals, helps increase awareness of the students breathing.
Ranges of instruments have been deliberately left in an easier tessitura and melodic lines are more conjunct than disjunct. Instruments should avoid doubling a cue when the cued instrument is present in the ensemble in order to achieve the fullest pallet of colours available to the ensemble.
Commissioned by: Mark Hopkins
Found 4 record(s)
Available Actions
CMC Location
Barcode
Copy Status
Circulation Status
Number of Copies
Calgary
01CA58719
In Circulation
-
1
Toronto
01TO58719
In Circulation
-
1
Montréal
01MO58719
In Circulation
-
1
Vancouver
01VA58719
In Circulation
-
1
SydneyEnterprise v4.4.0.28 - Canadian Music Centre | SydneyEnterprise (Final)