If you ever wondered what books are used in music schools, this is a list of music theory, music history, and music research books and online resources from beginner to Doctorate.
This covers books from RCM (Royal Conservatory of Music) from beginner to ARCT, Bachelor of Music, Master of Music, Artist Diploma, and Doctorate in Music.
There are physical books in the first half and online resources in the second half, along with study tips, where to find chapter outlines and quizzes, and full list of links to everything mentioned.
There will also be a part 2 that covers piano practical materials.
For more videos:
YouTube (classicalsqueak) / Video Index
For sheet music:
Ko-fi (classicalsqueak) or SMP* (published by Ylan Chu)
So first we got a flute, then a soft piano, afterwards some subtle strings, then piano again clearer than ever and with more conviction.
Calling it now, the last time we hear gnossiene no.5 it’s gonna be this grand, beautiful orchestration, we’re talking climax to a Lord of the Rings movie meets bodice ripper. It’s gonna bring Drama, it’s gonna bring Life
Session 9: Understanding PUCCH and PUSCH in 5G | Open RAN Explained
Video link - https://youtu.be/ExK6M8mm8TU
Welcome to Session 9 of our Open RAN series! In this session, we'll delve into the intricacies of the Physical Uplink Control Channel (PUCCH) and the Physical Uplink Shared Channel (PUSCH) in 5G networks.
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Okay, so. I had a moment while I was listening to Love Never Dies. It's the scene after Mother Please I'm scared where the Phantom blackmail's Christine and then leaves her hotel. And the theme from the original Phantom is played very briefly. But you know what's different about this one?
It's played on a TRUMPET. You can hear it at 3:31
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Now if you've never seen LND, this sentence alone might fuel your contempt for the musical even more. But in CONTEXT??? It sounds beautiful. I'm not even exaggerating when I say that those notes of "And do I dream again for now I find" are played with the same mournful respect as soldiers have when they play Taps on the trumpet/cornet.
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And in a way it makes sense??? Like Christine is mourning who she THOUGHT the Phantom was, as she says earlier "What are you saying?...How could you! After all that we've been! WHO ARE YOU???"
So I just put up a post about sending me suggestions for Broadway songs that would fit really well in different areas of Walt Disney World, and I decided to make an example for y'all! Here's "Wilkommen" from Cabaret, as I imagine it playing while you're getting Christmas ornaments and chocolate cookies with Werther's in the center and stuff. Enjoy, and feel free to send me more prompts to turn into Disney World music!
People don't know much about orchestration as a rule; it's one of the undersung aspects of the musical. But no musical had quite such a saga of orchestration as Annie Get Your Gun.
Irving Berlin wrote the score; Rodgers and Hammerstein produced, and Phil Lang was asked to orchestrate Berlin's music. He was reasonably early in his career and would go on to orchestrate hits like Hello, Dolly! and My Fair Lady - but here, he tried to create an orchestral sound where the melody was not given to the singers. Normally there is a line for the singers to hold to, often the clarinet in that era. Legend has it that the sitzprobe was a disaster; the cast was not used to music without the leading line and Rodgers and Hammerstein insisted that the orchestrations be rewritten from scratch before the impending opening.
Phil Lang still has the first credit, but he was fired from production. The other orchestrators credited are Robert Russell Bennett, arguably the most famous orchestrator of the time, and Ted Royal. However, extant scores show that as many as 25 orchestrators were called in to finish the job, "ghosting" as a favour as was not uncommon in that era. As a result, Annie Get Your Gun is possibly the musical where the finished product has been touched by the largest number of orchestrators - does this affect the style? Arguably not - ghosting was common in that era and most orchestrators were quite good at blending to the dominant sound. A side of musical theatre that few know about!