Caught between a rock and a hard place, this piece struggles to break free. Much of the agitated, uneasy feeling of this song comes from its use of syncopated rhythms. As you listen, tap out the beat with your hand or foot and notice how the melody fights against the flowing rhythm of the bass and drums by emphasizing the offbeats............
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Billy Boy
Eentsy Weentsy Spider
Kids Tunes
Rock & Pop
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No Middle Ground
Striving For Glory
Rock & Pop
Classical Ensemble
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Dance of the Sugarplum Fairy (Nutcracker Suite)
Marriage of Figaro Overture
Classical Ensemble
Classical Keyboard
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Italian Concerto, first movement, by J.S. Bach
Fur Elise by Beethoven
Sonatina in C Major by Muzio Clementi
Classical Keyboard
Holiday
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Silent Night
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Holiday
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Blues Solo #1
Maple Leaf Rag
Jazz & Ragtime
Around the World
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Striving for Glory
Subtitled "The Windows 3.1 Launch Theme," this piece was chosen by Microsoft Corporation for the opening theme music at its historic unveiling of the Windows 3.1 operating system. In a performance that Windows Magazine called "a tour de force of Windows multimedia," Music Technology Associates in cooperation with Midisoft Corporation performed this piece live at the Spring 1992 COMDEX Windows World Exposition before a crowd of over 5,000 and a worldwide satellite TV audience...............
Silent Night
Silent night, holy night!
All is calm, all is bright
'Round yon Virgin Mother and Child.
Holy Infant, so tender and mild,
Sleep in heavenly peace!
Sleep in heavenly peace!
Silent night, holy night!
Shepherds quake at the sight.
Glories stream from heaven afar,
Heav'nly hosts sing "Alleluia!"
Christ the Saviour is born!
Christ the Saviour is born!
Silent night, holy night!
Wondrous star, lend thy light!
With the angels let us sing
Alleluia to our King!
Christ the Saviour is here,
Jesus the Saviour is here!
Silent night, holy night!
Son of God, love's pure light,
Radiant beams from Thy holy face,
With the dawn of redeeming grace,
Jesus, Lord, at Thy birth,
Jesus, Lord, at Thy birth.
This is certainly the King of all Christmas carols, translated into no less than ninety languages around the world. Any song as beloved as this is bound to be the subject of countless fables as to its origin. But we have this modest but touching account from the composer himself in 1854:
"It was on December 24 of the year 1818 when Joseph Mohr, then assistant pastor of the newly established St. Nicholas' parish church in Oberndorf, handed to Franz Gruber, who was attending the duties of organist, a poem, with the request that he write for it a suitable melody arranged for two voices, chorus, and a guitar accompaniment. On that very same evening the latter, in fulfillment of this request made to him as a music expert, handed to the pastor his simple composition which was thereupon immediately performed on that holy night of Christmas Eve and received with acclaim."
Wouldn't it be fun to visit the parish of St. Nicholas for this Christmas eve 1818 premier?
Jingle Bells
Dashing through the snow
In a one-horse open sleigh,
O'er the fields we go,
Laughing all the way;
Bells on Bobtail ring,
Making spirits bright,
What fun it is to ride and sing
A sleighing song tonight!
Jingle bells, jingle bells! Jingle all the way!
Oh what fun it is to ride in a one-horse open sleigh!
Jingle bells, jingle bells! Jingle all the way!
Oh what fun it is to ride in a one-horse open sleigh!
A day or two ago,
I thought I'd take a ride,
And soon Miss Fanny Bright
Was seated by my side;
The horse was lean and lank;
Misfortune seemed his lot;
He got into a drifted bank,
And we, we got upsot.
Jingle bells, jingle bells! Jingle all the way!
Oh what fun it is to ride in a one-horse open sleigh!
Jingle bells, jingle bells! Jingle all the way!
Oh what fun it is to ride in a one-horse open sleigh!
A day or two ago,
The story I must tell
I went out on the snow
And on my back I fell;
A gent was riding by
In a one-horse open sleigh,
He laughed as there I sprawling lie,
But quickly drove away.
Jingle bells, jingle bells! Jingle all the way!
Oh what fun it is to ride in a one-horse open sleigh!
Jingle bells, jingle bells! Jingle all the way!
Oh what fun it is to ride in a one-horse open sleigh!
Now the ground is white
Go it while you're young,
Take the girls tonight
And sing this sleighing song;
Just get a bobtailed bay
Two-forty as his speed
Hitch him to an open sleigh
And crack! you'll take the lead.
Jingle bells, jingle bells! Jingle all the way!
Oh what fun it is to ride in a one-horse open sleigh!
Jingle bells, jingle bells! Jingle all the way!
Oh what fun it is to ride in a one-horse open sleigh!
Odd that this should be one of our most popular Christmas tunes, since it includes no mention of Christmas or the purpose of Christmas. But children love to sing it, though today you're more likely to hear it in the back seat of a car than in a one-horse open sleigh. Perhaps the updated version would go:
Cruising down the coast,
on the interstate freeway;
Over the pass we go,
Laughing all the way.
Horns on dashboards honk,
Making spirits bright;
What fun it is do drive and sing,
A cruising song tonight, Oh,
Honking horns, honking horns, honking all the way,
Oh what fun it is to cruise on the interstate freeway, Oh,
Honking horns, honking horns, honking all the way,
Oh what fun it is to cruise in the back of a Chevrolet.
Just a thought............
Oktoberfest
Germany has one of the richest musical traditions of any country in the world, but Bach or Beethoven never wrote anything like this. This is simple German festival music; music for drinking, dancing, and having a good time. Hardly the kind of thing one would expect for a church service or a quiet parlor social gathering............
Sonatina in C Major by Muzio Clementi
Why did Mozart call Clementi a "charlatan?" One clue can be heard in this sonatina, a clue that also addresses the age old issue of flashy display versus good taste. Mozart, brilliant as he was, believed in the virtues of restraint and taste in music. His displays of pianistic skill were always tempered by compositional considerations concerning balance, phrasing, emotional restraint, and other qualities that makes classical music "classical."
Along comes Mr. Muzio Clementi, a successful composer-performer with a reputation stretching across Europe, cozy with the court elite whose favors often eluded unpredictable Mozart. Clementi's sonatas for the new and popular pianoforte were heavy on flash, and just artsy enough to gain palace entrance. To Mozart they must have seemed like a well-groomed shyster, gaining access to the King with bribes at the gate while Mozart's own works, paragons of integrity in the compositional art, waited outside in the mud and rain. His music was as different from Mozart's, in the ears of the day, as Hendrix is from Chet Atkins today.
In Clementi's defense, he was considered by Beethoven and others to be the first complete master of the pianoforte, with a style of composition best suited to it, not the old-fashioned harpsichord. Remembering that the pianoforte was capable of new dramatic variations in loudness and tone, it's easy to see how Clementi's flash was appropriate for the instrument, but excessive to those whose tastes were shaped by the more limited harpsichord. Listen to this Clementi "Sonatina" and see if you can hear harbingers of Liszt and other keyboard virtuosos to come...........................................................
Christm
Baklava
This piece evokes the sound of Greek dance music. It starts out slowly and builds to a frenetic conclusion. Baklava is a sticky-sweet dessert made with honey and a delicate pastry dough called filo.
Italian Concerto, first movement
by J. S. Bach
The erudite Music Appreciation student will offer two observations about this piece: it is Italian and it is a concerto. The thoughtful Music Appreciation instructor will award a blue star and ask, "But what is Italian about it, and, for that matter, what is concerto about it?"
Bach's edition of 1735 offers "a Concerto after the Italian taste and an Overture after the French manner for a harpsichord...." From these words, scholars may conclude that Bach thought the Italians had better taste than the French, and that the French had better manners than the Italians. In any case, Bach published these pieces at the suggestion of his sons and students as a comparison of the Italian and French styles of playing.
The Italian style was distinguished most obviously by a fast-slow-fast sequence of movements, each of which was designated in Italian -- in this case, Allegro, Andante and Presto. Beyond that, the listener of the time could expect lots of virtuostic and emotional gestures as popularized by southern maestros like Antonio Vivaldi (the King of concertos) and Corelli (the Padre of violin technique). This is the flamboyant heritage that would eventually spawn Paganini.
Now let us peg the Concerto. Today, a concerto is generally a three movement, fast-slow-fast piece for a solo instrumentalist and orchestra, intended to feature the soloist and his or her interchanges with the orchestra. Vivaldi, Bach's contemporary, composed hundreds of these, but there were other flavors to choose from as well. Bach's "Italian Concerto" utilizes the defining fast-slow-fast format; however, it is intended for a single instrument with no accompanying orchestra. But many things can happen on a keyboard, and perhaps you can find both a soloist and orchestra at work in this piece as well.......................................................
the bac
Fur Elise by Ludwig van Beethoven
This piece is a mini Rondo with two episodes. In plainspeak, that means it has a main section repeated twice with two other sections sandwiched in between, a la A-B-A-C-A. Along with dubbing it a rondo, you can impress your friends by calling "Fur Elise" a "bagatelle," which means "trifle" in French. Bagatelles became very popular in the 1800s as the public appetite for short, appealing piano music increased. As to its title, "Fur Elise" is sometimes called "Albumblatt Fur Elise," implying, as Beethoven wrote at the head of the composition, a "remembrance" for Elise.
Wouldn't you like to know who Elise was, and what place she held in Ludwig's heart. Sorry, even the scholars disagree on that one, pitting singer Elise Keyser against another Beethoven acquaintance, Therese Malfatti, as the object of admiration. At least Ms Keyser had the proper moniker; but some argue that Beethoven was in love with Madame Therese at the time in question (April, 1810) and that her name was simply misread as "Elise." One important clue: the final owner of the manuscript "Fur Elise" was Therese, not Elise. Shall we rename this piece "Fur Therese?" Let's at least let Elise rest in peace!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
o. Today,
Dance of the Sugarplum Fairy
from the Nutcracker Suite
by Tchaikovsky
Tchaikovsky began work on his "Nutcracker Suite" in 1890, on the heels of another successful ballet, "Sleeping Beauty." He undertook the commitment on the insistence of his sponsor, despite his own reservations about the story line and objections as to who would perform the ballet. As a result Tchaikovsky did not experience the urge to compose which inspired him in previous works, and the project dragged on, delayed and on one occasion nearly abandoned by him. He might have been encouraged to greater diligence had he known the destiny of this perennial favorite.
One thing that did excite Tchaikovsky was a new instrument that he discovered in Paris and incorporated into the "Dance of the Sugar-Plum Fairy." The instrument in question is the celeste, a bell-sounding hybrid between a small piano and a glockenspiel "...with a divinely marvellous sound...," according to Tchaikovsky. He pleaded to his manager back in Petersburg to order it for the "Nutcracker," saying also "...I would prefer it to be shown to nobody, for I am afraid that Rimsky-Korsakov and Glazunov will get wind of it and use its unusual effect sooner than me...." Unfortunately the celeste was untuneable and could not be adjusted to Petersburg standard pitch, causing a bit of dissonance at the premier in March of 1892..........................................
her interc
W.A. Mozart, Overture to "The Marriage of Figaro"
(Le Nozze di Figaro)
The audiences in 1786 must have been especially eager to see and hear this revolutionary opera, based on a popular play's satirization of the upper classes, a play that had been banned throughout Europe. The ruling elite was apparently offended by the immoral overtones of Figaro, and were probably not exactly thrilled about being depicted to the masses as lecherous buffoons. In an entrepreneurial tradition that endures today, Mozart and his librettist Lorenzo da Ponte recognized that a lot of money could be made from such a story line if they watered it down operatically just enough to win permission to produce it from the local authorities.
Mozart must have known the audience would want to zip right to the action, because his overture is a quickie sonata-allegro form without a development, just an exposition, where several peppy themes are "exposed," and a recapitulation, where the exposition is recapped, this time with all themes in the same key for a sense of finality. Your garden variety sonata-allegro would insert a development in between the exposition and recapitulation to develop the possibilities of the themes. But the only thing Mozart's audience wanted to have developed was the action of this spicy comedy of courtly errors.
Budding composers (as well as those in "full bloom") may wish to study the two major sections of this overture. In the exposition, can you determine when Mozart changes keys from D to A? And what musical materials does he alter in the recapitulation in order to finish in the home key of D major????????????????????????????????????????????????????
nt with no
Holiday
sic Texture
d FileList
hark.mid
jingle.mid
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silent.mid
jingle.mid
Jazz & Ragtime
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blues1.mid
maple.mid
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Blues Solo #1
One of the best ways to learn about jazz improvisation is to listen to example solos and then analyze them to see what they are made of. This is a solo over a standard B-flat Blues chord progression. There are probably as many ways to play over the Blues as there are Blues players. Because so many things work with the Blues, it's a natural place to start for the beginning student of jazz improvisation.
This solo is of special interest because it uses only the notes of the Blues scale. In the key of B-flat that's B-flat, D-flat, E-flat, E natural, F natural, and A-flat. Despite this arbitrary constraint, you'll notice that this solo has a lot of variety, and that it has a distinctive quality that immediately associates it with the Blues idiom.
Eentsy Weentsy Spider
Eentsy Weentsy Spider went up the water spout;
Down came the rain and washed the spider out;
Out came the sun and dried up all the rain, And the
Eentsy Weentsy Spider went up the spout again.
This song is not suggested for arachnophobics. But it is a good introduction to naturalistic studies for tots, touching upon precipitation, hydrology, evaporation, and insect behavior patterns -- in only four lines.
As with most tunes this brief, a little accompanying activity makes it fun. Mimic a spider by touching the fingertips of each hand together and flexing the palms in and out, or by touching the tip of the index finger of one hand to the thumb of the other, alternating them as the hands move up and down................
Rock & Pop
Classical Ensemble
Rock & Pop
Rhythm
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nomiddle.mid
striving.mid
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Around the World
Kids Tunes
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Holiday
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sugarplm.mid
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sic Mentor
System
#dlgInitAbout
mes New Roman
,s14,Music Magic pre-release
Copyright
1992-93
Music Technology Associates
button OK,b17,TRUE
,s492,Music Magic was created by Steve Peha, Ben Hippen, and Tom Bourne.
p ,s14,Music Magic
1992-93
Midisoft Corporation
button OK,b17,TRUE
,s492,Portions of this Product
1991-1993 Tom Bourne, Chris Bruya, Susan Capestro, Ben Hippen, Tracy Hurst, George F. Litterst, and Steve Peha DBA Music Technology Associates. Used by permission.
agic includes materials developed by Steve Peha, Ben Hippen, and Tom Bourne.
s New Roman
dlgBoxAbout
,s14,Music Mentor Opus 1.0CD
Copyright
1991-92
Music Technology Associates
button OK,b17,TRUE
,s492,Music Mentor was composed by Steve Peha, Ben Hippen, George Litterst, and Tom Bourne.
3,14.07,17,1342242817,128,OK,0,,5.45,50.54,153.07,29.09,492,1342177280,130,Music Mentor was composed by Steve Peha,0
ntor was composed by Steve Peha,0
Bourne.
2dlgBoxMIDISetup
dlgBoxMIDISetup
l<dlgBoxSessionPrefs
dlgBoxMPUSettings
dlgInitIndex
button Go To Page,b93,TRUE
button Cancel,b479,FALSE
listbox Index,l516,
button Remove Entry,b522,TRUE
,s523,Select the page you want to go to.
dlgBoxIndex
1342177280,130,Music Mentor was composed by Steve Peha,0
button Go To Page,b93,TRUE
button Cancel,b479,FALSE
listbox Index,l516,
button Remove Entry,b522,TRUE
,s523,Select the page you want to go to.
h 524480,5,100,50,151,170,,,Index,8,Helv,Go To Page,20.65,135.26,50.90,15.79,93,1342242817,128,Go To Page,0,Cancel,80.30,135.26,50.93,15.79,479,1342242816,128,Cancel,0,Index,12.88,21.58,126.93,82.42,516,1352728579,131,,0,Remove Entry,44.65,110.03,65.30,15.79,522,1342242816,128,Remove Entry,0,,12.88,9.11,126.97,11.45,523,1342177280,130,Select the page you want to go to.,0
h<groupbox Channels to view,g1068,Channels to view
button Base Level (Channels 11-16),b1062,FALSE
button Extended Level (Channels 1-10),b1063,FALSE
button Use MIDI Mapper in MIDI Editor,b1073,FALSE
button OK,b1074,TRUE
button Cancel,b1075,FALSE
button Prompt Before Score View,b1160,FALSE
,s1179,The Device-Independent MIDI files in this product contain two "arrangements" of the piece -- one for Base Level MIDI devices, and one for Extended Level MIDI devices.
,s1180,When you switch to a MIDI editor you have the option of viewing the arrangement for Base Level devices (on MIDI channels 11-16) or Extended Level devices (on MIDI channels 1-10).
,s1181,If your MIDI Mapper is set up for a Base Level device (mapping to MIDI channels 11-16) you should choose Base Level below. If your MIDI Mapper is set up for an Extended Level device (mapping to MIDI channels 1-10) you should choose Extended Level below.
,s1182,If you choose one of these options and in the MIDI editor you see music but don't hear any on playback, choose the other option when you return.
n6dlgBoxMIDIEditorPrefs
on,b1160,FALSE
,FALSE
button OK,b1074,TRUE
button Cancel,b1075,FALSE
button Base Level,b1062,FALSE
button Extended Level,b1063,FALSE
button All,b1064,FALSE
,s14,Music Mentor Opus 1.01
Copyright
1991-92
Music Technology Associates
button OK,b17,TRUE
,s492,Music Mentor was composed by Steve Peha, Ben Hippen, George Litterst, and Tom Bourne.
,s14,Music Magic pre-release
Copyright
1992-93
Music Technology Associates
button OK,b17,TRUE
,s492,Music Mentor was created by Steve Peha, Ben Hippen, and Tom Bourne.
om Bourne.
MS Sans Serif
Music Technology Associates
button OK,b17,TRUE
,s492,Music Mentor was composed by Steve Peha, Ben Hippen, George Litterst, and Tom Bourne.
MS Sans Serif
,s492,Music Magic includes materials created by Steve Peha, Ben Hippen, and Tom Bourne.
,s14,Music Magic pre-release
Copyright
1992-93
Music Technology Associates
button OK,b17,TRUE
,s492,Music Magic includes materials created by Steve Peha, Ben Hippen, and Tom Bourne.
524480,3,100,65,183,126,,,About MusicMagic Songbook LE,8,Helv,,9.07,12.06,164.34,23.02,14,1342177281,130,MusicMagic Songbook LE 1.0
Copyright
1992-93 Midisoft Corporation,0,OK,70.74,89.68,50.93,14.07,17,1342242817,128,OK,0,,11.05,37.42,158.67,40.82,492,1342177280,130,Portions of this Product Copyright
1991-1993
Tom Bourne,0
$hnology Associates. Used by permission.
d Tom Bourne.
p0dlgInitMIDIEditorPrefs
MS Sans Serif
Sans Serif
MS Sans Serif
mes New Roman
29.09,492,1342177280,130,Music Mentor was composed by Steve Peha,0
,s492,Music Mentor was composed by Steve Peha, Ben Hippen, George Litterst, and Tom Bourne.
(dlgBoxMusicMagicPrefs
MusicMagic Songbook LE
,s14,MusicMagic Songbook LE 1.0
Copyright
1992-93 Midisoft Corporation
button OK,b17,TRUE
,s492,Portions of this Product Copyright
1991-1993
Tom Bourne, Chris Bruya, Susan Capestro,
Ben Hippen, Tracy Hurst, George F. Litterst, and Steve Peha DBA Music Technology Associates. Used by permission.
$ght
1991-1993
Tom Bourne,0
$g1068,Channels to view
button Base Level (Channels 11-16),b1062,FALSE
button Extended Level (Channels 1-10),b1063,FALSE
,s1158,MusicMagic Songbook's Device-Independent MIDI files contain two "arrangements" of the piece -- one for Base Level MIDI devices, and one for Extended Level MIDI devices.
When you go to MusicMagic Score View you have the option of viewing the arrangement for Base Level devices (on MIDI channels 11-16) or Extended Level devices (on MIDI channels 1-10).
If your MIDI Mapper is set up for a Base Level device (mapping to MIDI channels 11-16) you should choose Base Level below. If your MIDI Mapper is set up for an Extended Level device (mapping to MIDI channels 1-10) you should choose Extended Level below.
If you choose one of these options and in MusicMagic Score View you see music but don't hear any on playback, choose the other option when you return to MusicMagic Songbook.
button Use MIDI Mapper in MusicMagic Sc,b1073,FALSE
button OK,b1074,TRUE
button Cancel,b1075,FALSE
button Prompt Before Going to MusicMagi,b1160,FALSE
l+ve Peha DBA Music Technology Associates. Used by permission.
,s14,MusicMagic Songbook LE 1.0
Copyright
1992-93 Midisoft Corporation
button OK,b17,TRUE
,s492,Portions of this Product Copyright
1991-1993
Tom Bourne, Chris Bruya, Susan Capestro,
Ben Hippen, Tracy Hurst, George F. Litterst, and Steve Peha DBA Music Technology Associates. Used by permission.
hat best matches your MIDI hardware.,0,General MIDI Devices,30.55,162.75,84.00,10.46,551,1342177289,128,General MIDI Devices,0
,s14,Music Mentor Opus 1.01
Copyright
1991-92
Music Technology Associates
button OK,b17,TRUE
,s492,Music Mentor was composed by Steve Peha, Ben Hippen, George Litterst, and Tom Bourne.
h<groupbox Channels to view,g1068,Channels to view
button Base Level (Channels 11-16),b1062,FALSE
button Extended Level (Channels 1-10),b1063,FALSE
button Use MIDI Mapper in MIDI Editor,b1073,FALSE
button OK,b1074,TRUE
button Cancel,b1075,FALSE
button Prompt Before Score View,b1160,FALSE
,s1179,The Device-Independent MIDI files in this product contain two "arrangements" of the piece -- one for Base Level MIDI devices, and one for Extended Level MIDI devices.
,s1180,When you switch to a MIDI editor you have the option of viewing the arrangement for Base Level devices (on MIDI channels 11-16) or Extended Level devices (on MIDI channels 1-10).
,s1181,If your MIDI Mapper is set up for a Base Level device (mapping to MIDI channels 11-16) you should choose Base Level below. If your MIDI Mapper is set up for an Extended Level device (mapping to MIDI channels 1-10) you should choose Extended Level below.
,s1182,If you choose one of these options and in the MIDI editor you see music but don't hear any on playback, choose the other option when you return.
button OK,b93,TRUE
listbox Help,l592,
ew,g1068,Channels to view
button Base Level (Channels 11-16),b1062,FALSE
button Extended Level (Channels 1-10),b1063,FALSE
button Use MIDI Mapper in MIDI Editor,b1073,FALSE
button Cancel,b1075,FALSE
button Prompt Before Score View,b1160,FALSE
,s1179,The Device-Independent MIDI files in this product contain two "arrangements" of the piece -- one for Base Level MIDI devices, and one for Extended Level MIDI devices.
,s1180,When you switch to a MIDI editor you have the option of viewing the arrangement for Base Level devices (on MIDI channels 11-16) or Extended Level devices (on MIDI channels 1-10).
,s1181,If your MIDI Mapper is set up for a Base Level device (mapping to MIDI channels 11-16) you should choose Base Level below. If your MIDI Mapper is set up for an Extended Level device (mapping to MIDI channels 1-10) you should choose Extended Level below.
,s1182,If you choose one of these options and in the MIDI editor you see music but don't hear any on playback, choose the other option when you return.
button OK,b1074,TRUE
groupbox Channels to view,g1068,Channels to view
button Base Level (Channels 11-16),b1062,FALSE
button Extended Level (Channels 1-10),b1063,FALSE
button Use MIDI Mapper in MIDI Editor,b1073,FALSE
button Cancel,b1075,FALSE
button Prompt Before Score View,b1160,FALSE
,s1179,The Device-Independent MIDI files in this product contain two "arrangements" of the piece -- one for Base Level MIDI devices, and one for Extended Level MIDI devices.
,s1180,When you switch to a MIDI editor you have the option of viewing the arrangement for Base Level devices (on MIDI channels 11-16) or Extended Level devices (on MIDI channels 1-10).
,s1181,If your MIDI Mapper is set up for a Base Level device (mapping to MIDI channels 11-16) you should choose Base Level below. If your MIDI Mapper is set up for an Extended Level device (mapping to MIDI channels 1-10) you should choose Extended Level below.
,s1182,If you choose one of these options and in the MIDI editor you see music but don't hear any on playback, choose the other option when you return.
j6h<n,-10).,0,,15.92,83.57,295.66,31.55,1181,1342177280,130,If your MIDI Mapper is set up for a Base Level device (mapping to MIDI channels 11-16) you should choose Base Level below. If your MIDI Mapper is set up for an Extended Level device (mapping to MIDI channels 1-10) you should choose Extended Level below.,0,,15.50,115.73,290.48,29.54,1182,1342177280,130,If you choose one of these options and in the MIDI editor you see music but don't hear any on playback,0
524480,11,20,15,323,244,,,MIDI Editor Preferences,8,Helv,OK,203.47,213.05,50.86,12.31,1074,1342373889,128,OK,0,Channels to view,7.47,11.61,308.42,166.85,1068,1342177287,128,Channels to view,0,Base Level (Channels 11-16),42.70,156.06,106.40,10.46,1062,1342308361,128,Base Level (Channels 11-16),0,Extended Level (Channels 1-10),169.68,156.06,117.64,10.46,1063,1342177289,128,Extended Level (Channels 1-10),0,Use MIDI Mapper in MIDI Editor,7.47,188.51,117.45,10.46,1073,1342373891,128,Use MIDI Mapper in MIDI Editor,0,Cancel,261.30,212.64,50.86,12.31,1075,1342242816,128,Cancel,0,Prompt Before Score View,7.47,204.59,96.88,10.46,1160,1342242819,128,Prompt Before Score View,0,,15.89,27.65,276.99,17.48,1179,1342308352,130,The Device-Independent MIDI files in this product contain two "arrangements" of the piece -- one for Base Level MIDI devices,0,,15.89,51.94,293.79,27.36,1180,1342177280,130,When you switch to a MIDI editor you have the option of viewing the arrangement for Base Level devices (on MIDI channels 11-16) or Extended Level devices (on MIDI channels 1-10).,0,,15.89,83.94,295.66,31.55,1181,1342177280,130,If your MIDI Mapper is set up for a Base Level device (mapping to MIDI channels 11-16) you should choose Base Level below. If your MIDI Mapper is set up for an Extended Level device (mapping to MIDI channels 1-10) you should choose Extended Level below.,0,,15.47,116.10,290.48,29.54,1182,1342177280,130,If you choose one of these options and in the MIDI editor you see music but don't hear any on playback,0
4524480,8,20,15,323,244,,,Session Preferences,8,Helv,Channels to view,7.47,10.50,308.42,166.85,1068,1342177287,128,Channels to view,0,Base Level,100.80,155.24,48.53,10.46,1062,1342308361,128,Base Level,0,Extended Level,166.13,155.24,63.47,10.46,1063,1342177289,128,Extended Level,0,,15.50,26.58,295.66,124.64,1158,1342308352,130,The "Device-Independent MIDI Files" option is currently selected in the MIDI Setup dialog box. Device-Independent MIDI files contain two "arrangements" of the piece -- one for Base Level MIDI devices,0,Use MIDI Mapper in Session,7.47,187.41,104.53,10.46,1073,1342242819,128,Use MIDI Mapper in Session,0,OK,203.47,211.94,50.86,12.31,1074,1342242817,128,OK,0,Cancel,261.33,211.53,50.86,12.31,1075,1342242816,128,Cancel,0,Prompt Before Going to Session,7.47,203.49,115.73,10.46,1160,1342242819,128,Prompt Before Going to Session,0
Kids Tunes
Melody
FileList
billyboy.mid
spider.mid
buttonUp
buttonUp
MNext
buttonUp
buttonUp
MPrev
Main Screen
buttonUp
buttonUp
MMain
Main Screen
Score View
buttonUp
buttonUp
ScoreView
reView
Score View
:PHYSSIZE
buttonUp
buttonUp
Playing
TargetID
Playing
TargetID
:PHYSSIZE
Billy Boy
Oh, where have you been, Billy Boy, Billy Boy?
Oh, where have you been, charming Billy?
"I have been to seek a wife;
She's the joy of my life;
She's a young thing and cannot leave her mother."
Did she bid you to come in, Billy Boy, Billy Boy?
Did she bid you to come in, Charming Billy?
"Yes, she bade me to come in;
There's a dimple on her chin;
She's a young thing and cannot leave her mother."
Can she make a cherry pie, Billy Boy, Billy Boy?
Can she make a cherry pie, charming Billy?
"She can make a cherry pie,
Quick's a cat can wink her eye;
She's a young thing and cannot leave her mother."
This song came from England to New England but was most popular in the southern mountain country. It is a question-answer type of song, a very common musical technique found all over the world wherein one group trades lines with another.
Another version of "Billy Boy," with the subtitle "The Kidnapped Child," gained its reputation in 1909 with the news of one Billy Whitla, snatched by kidnappers after school in Sharon, Pennsylvania. Young Billy's photo graced the cover of the sheet music along with a reward offer of $1,000 from the Scripps-McCrea newspapers. The inscription read: "This is an exact photo of Billy Whitla just as he was when taken from school." The marketing potential of this masterpiece of topical exploitation was nipped in the bud upon Billy's release, unharmed, in Cleveland..........................
determin
Maple Leaf Rag by Scott Joplin
Ragtime is one of the most unique stylistic fusions in all of music, combining African rhythmic techniques with European harmony and form. The reason that Rag was the rage at the turn of this century is the "ragged time" of its rhythms, wherein a syncopated melody is plopped on top of a straight-time oom-pah rhythm. Because of Ragtime and the jazz forms that grew from it, we take syncopation for granted these days, but for listeners at the turn of the century it was a bit daring, even naughty!
Composers like Scott Joplin probably knew that a form abounding in such rebellious rhythms needed to be dressed in a restrained and "civilized" garb, so they applied the techniques of classical composers like Mozart and Haydn, which helped them slip their rags into the well-heeled parlors of America. The "refining" characteristics of Ragtime music are:
-- A sense of moderation and pacing. Ragtime is not a gut-wrenching catharsis, but a cool and detached observational style with simple harmonies and few painful dissonances. Perhaps Ragtime provided a relief from the overworked, contrived art music of the day. Tempo-wise, moderation was the order of the day. Joplin often instructs the player of his music to "please not play too fast," which is against the spirit of the Rag. That having been said, Joplin's own piano roll performance of Maple Leaf Rag is definitely faster than average.
-- Predictable and repetitive form. The most common Ragtime form is AABBACCDD, with CC and DD changing to a new key. Maple Leaf Rag follows this form, which was soothing security in light of syncopated experiments elsewhere.
Main Screen
enterPage
enterPage
Kids Tunes
cCategorySetup
TargetName
tegory
4TargetName
"Kids Tunes"
CategorySetup
K, OldTargetName
enterPage
enterPage
Kids Tunes
cCategorySetup
TargetName
buttonDown
buttonUp
buttonDown
textFromPoint
LineNumber
buttonUp
TargetName
LineNumber
buttonUp
TargetName
LineNumber
Silent Night
Jingle Bellsvement, by J.S. Bach
Fur Elise by Beethoven
Sonatina in C Major by Muzio Clementif the Camel Part II