524480,8,20,15,323,244,,,MusicMagic Preferences,8,Helv,Channels to view,7.47,10.87,308.42,166.85,1068,1342177287,128,Channels to view,0,Base Level (Channels 11-16),42.78,155.32,106.40,10.46,1062,1342308361,128,Base Level (Channels 11-16),0,Extended Level (Channels 1-10),169.71,155.32,117.64,10.46,1063,1342177289,128,Extended Level (Channels 1-10),0,,15.47,26.95,295.66,124.64,1158,1342308352,130,MusicMagic Songbook's Device-Independent MIDI files contain two "arrangements" of the piece -- one for Base Level MIDI devices,0,Use MIDI Mapper in MusicMagic,7.47,187.77,117.45,10.46,1073,1342242819,128,Use MIDI Mapper in MusicMagic,0,OK,203.47,212.31,50.86,12.31,1074,1342242817,128,OK,0,Cancel,261.30,211.90,50.86,12.31,1075,1342242816,128,Cancel,0,Prompt Before Score View,7.47,203.86,96.91,10.46,1160,1342242819,128,Prompt Before Score View,0
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.
-1993 Tom Bourne,0
dlgInitAbout
dlgInitMIDIEditorPrefs
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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.
!dlgBoxMIDIEditorPrefs
l ,s14,World of Music Sampler LE beta 0.7
Copyright
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.
,s14,World of Music Sampler 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.
-1993
Tom Bourne,0
,s14,World of Music Sampler LE beta 0.91
Copyright
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.
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
apping 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.
dlgBoxMIDIEditor
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.
524480,3,100,65,183,126,,,About World of Music Sampler LE,8,Helv,,9.07,12.06,164.34,23.02,14,1342177281,130,World of Music Sampler 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
right
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.
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
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
World of Music Sampler
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FileName
blues1.mid
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. A solo is presented here over a standard B-flat Blues 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 improvisation.
Blues Solo #1 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 obvious constraint, you'll notice that the solo has a lot of variety, and that it has a distinctive quality that immediately associates it with the Blues idiom.
As you listen to this solo and then take a look at it "up close" in a sequencer or notation program, ask yourself questions like these: What kind of melodic materials is the soloist using? How do the notes of the solo work with the chord changes played by the rhythm section? What kind of rhythmic patterns are being used? How does the solo develop over time from chorus to chorus? When you've listened a bit, mute the solo track and try your own solo. If you don't know where to start, just try plugging in the notes of the Blues scale and see what happens.
In some ways, learning to improvise in a traditional jazz style is a lot like learning to speak a new language. We learn individual words first to build a vocabulary, and then begin to string those words together into longer phrases according to particular rules of grammar. Jazz has its own vocabulary and grammar which you'll begin to understand as you work with other materials in The Chris Bruya Jazz Series. Mr. Bruya is an award-winning professor of jazz studies at Pacific University in Oregon. In this first volume called "Getting Started with Jazz Improvisation" you'll find materials on the Blues, the II-V-I progression, and swing and latin styles, as well as information on jazz keyboard comping, jazz bass lines and soloing, and jazz drumming. If you've ever wanted to learn to play jazz, this is the place to start.
Credits: The rhythm section tracks were created by Chris Bruya (piano and bass) and Paul Mutch (drums). The vibes solo was played by Tracy Hurst.
:PHYSSIZE
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*.mid
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Chris Bruya Jazz Series
World of Music Sampler
FileName
italco.mid
Italian Concerto, BWV 971, 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.
:PHYSSIZE
Big City Beat
A good groove is hard to come by. Coming up with bass, drum, keyboard, and other parts that make up the foundation of a good pop piece is an art form in and of itself. To give you a good idea of what this process is all about, we have created Pop Building Blocks, a collection of complete grooves that you can use to create your own songs and learn about the art of pop composition.
You can use these pieces as foundations to create songs of your own. You can also use them to practice soloing in various pop styles. Each sequence comes with the requisite bass, drum, and chord parts as well as other parts that enhance the groove. Each sequence also features an example solo that can serve as the basis of more compositional material or as a guide to a particular style of pop improvisation.
Credits: Big City Beat was performed and edited by Tracy Hurst..by Tracy Hurst.by Tracy Hurst.
FileName
bigcity.mid
:PHYSSIZE
The Marriage of Figaro (Le Nozze di Figaro)
by W. A. Mozart
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?
Credits: The overture to The Marriage of Figaro was performed and edited by Ben Hippen.
FileName
figaro.mid
:PHYSSIZE
Peer Gynt Suite I, Op. 46
IV. In the Hall of the Mountain King
by Edvard Grieg
Debussy dubbed Grieg's music "bon-bons wrapped in snow." Culinarily, we might take that to mean that Debussy felt the music was loaded with sugar but short on nourishment. Perhaps Grieg's was the bubblegum music of the Romantic period--it tastes good but don't swallow!
Coming to the defense of his fellow countryman, the great Norwegian playwright Henrik Ibsen would have certainly objected, since he invited Grieg to compose music for his play Peer Gynt, a fantastic tale of a legendary Norwegian hero. Peer Gynt is an adventurous rascal whose bizarre exploits eventually land him "In the Hall of the Mountain King." Here, he mixes it up with a troll king and his host of imps, gnomes, and trolls trying to swing a deal whereby Peer will marry the King's daughter and attain his lifelong desire of being an emperor. Peer is ordered by the King to adopt the troll lifestyle, which includes shunning all sunlight, eating troll food, dressing in troll garb, and wearing a tail. Peer plays along for a while, but finally chafes at the idea of having his eyes slit to see in troll fashion (and who could blame him?). Mayhem ensues as Peer tries to escape, is chased and tortured by his underworldly tormenters, and is finally saved by the sound of church bells. Great stuff for Halloween.
This, then, is a highly descriptive kind of music. If Grieg were alive today, he might be doing the score for Norwegian Chainsaw Massacre VI. Check out, for instance, the staccato tiptoeing melody of the trolls. Contrasts are the key to this ultrascary music, so you might think about the contrasts in mood, dynamics, instruments, tempo, and pitch levels.
Credits: In the Hall of the Mountain King was performed and edited by Ben Hippen.
FileName
mtnking.mid
:PHYSSIZE
FileName
baby.mid
Rock-a-Bye Baby
Songs like Rock-a-Bye Baby have survived for centuries in musical lore, passed from generation to generation by a mother's love and a child's delight. Perhaps the composers of this and other childhood classics were too busy parenting or growing up to apply for copyrights.
Rock-a-bye Baby has been attributed to Pilgrim children from the Mayflower who saw the way Indians hung their birch bark cradles. Along with other songs, it provides evidence that parents really did hang their children in trees (in cradles, of course) to be rocked by wind power. It is certainly the best known lullaby in England and America and, if the Mayflower story is true, it would be one of the first poems produced on American soil.
Rock-a-bye baby, in the tree top
When the wind blows, the cradle will rock
When the bough breaks, the the cradle will fall
And down will come baby, cradle and all
The words first appear in Mother Goose Melodies, circa 1765, with this footnote: "This may serve as a warning to the Proud and Ambitious, who climb so high that they generally fall at last." And lest one dismiss this and other Mother Goose gems as artless cooing, read this lecture by Ms. Goose herself to those who would endeavor to replace her soothing ditties with more "relevant" or "educational" tot tunes:
"Fudge! I tell you that all their batterings can't deface my beauties, nor their wise prattlings equal my wiser prattlings; and all imitators of my refreshing songs might as well write a new Billy Shakespeare as a new Mother Goose--we two great poets were born together, and we shall go out of the world together.
No, no, my Melodies will never die,
While the nurses sing, or babies cry."
And you thought Rock-a-Bye Baby was just a harmless kid's song!
Credits: Rock-a-Bye Baby was recorded by Tracy Hurst.
:PHYSSIZE
FileName
clair.mid
Clair de lune
by Claude Debussy
Clair de lune, or Moonlight, is one of Claude Debussy's most beloved works. It is the third movement from his Suite bergamasque, written in 1890, prior to his development of what is now called the Impressionist style. A bergamasque is a generic term for dances, songs, and poetry from the Bergamo district of Northern Italy, dating back to the Renaissance. Debussy's suite is based freely on impressions of peasant life in that region.
Debussy revitalized piano playing at the turn of the century in a way comparable to what Chopin had done fifty years earlier. He was playing Chopin's concertos at the age of twelve and, at the Paris Conservatory, was one of those pesky students-with-an-attitude who posed embarrassing questions to rarely-challenged professors. One of his teachers, the venerated composer Cesar Franck, criticized Claude's lack of key changes. Frequent modulation, after all, was the accepted way for big-time composers of the day to be clever and daring. "Modulate, modulate!", the master prodded, to which young Claude replied, "Why should I modulate when I am perfectly happy in the tonality I am in?" When asked what rules he followed, he replied, "Mon plaisir!," a phrase that was heresy to entrenched academics.
Credits: The Rondo alla Turca and Clair de lune were performed by George F. Litterst and edited by Ben Hippen.
:PHYSSIZE
FileName
elvira.mid
An excerpt from
Piano Concerto No. 21 in C Major, K.467 "Elvira Madigan"
II. Andante
by W. A. Mozart
Mozart did his father proud with this concerto, which, by the way, is a composition in three movements for orchestra and soloist. The elder Mozart wrote to his daughter that listeners at the piece's premier performance in Vienna were moved to tears by its beauty, and that the ensuing applause was deafening. Can you hear the spooky switch to minor in the opening, and the daring melodic leaps in the theme, as well as the various clashing suspensions? Mozart's audience must have been very open minded, because this slow movement is full of such bold techniques, which make it sound modern even by today's standards.
Little did Mozart realize in 1785 that he was composing the score for a 1967 Swedish film about two suicidal flower-child-lovers-living-off-the-land-and-starving-to-death-in-a-doomed-flight-from-those-who-would-destroy-their-love. The moody harmonies of this second movement are well suited to these gentle and ill-fated 100%-natural romantics as they roam the Swedish countryside foraging for wild berries and clover. The film, by Swedish director Bo Widerberg, was quite attractive to American audiences of the late sixties and won accolades for its lush and lyric outdoor cinematography. The film's producers made several attempts to compensate Mozart for his work on the film, but as far as we know their checks were never cashed.
Credits: Elvira Madigan was performed and edited by Ben Hippen.
(.txt)