Drum Line. Snare auditions begin Tuesday January 28 4-5 in the Band Room If you have a conflict let Mr. Miller know. Drum Major. Congratulations to Meagan Parker Drum Major of the 2014 Marching Bobcats!. Theory R ecord Times. 1A-Jeremy Sprinkle 37 seconds 1B-Jeremy Sprinkle 36 seconds
Snare auditions begin Tuesday January 28 4-5 in the Band Room
If you have a conflict let Mr. Miller know
Congratulations to Meagan Parker
Drum Major of the 2014 Marching Bobcats!
1A-Jeremy Sprinkle 37 seconds
1B-Jeremy Sprinkle 36 seconds
2A-McKayla Teague 59 seconds
2B-Emily Jeon 119 seconds
Tuesday April 29
Brass Ensemble, Flute Choir
Thursday May 1
Check the “Missed Rehearsal” sheet to see what you missed! Items on the list can be made up on the next Theory/Make-up Day
In the Mood was written by Joe Garland and made famous by The Glenn Miller Orchestra
Written and recorded in the 1930’s and 1940’s
Who's the lovin' daddy with the beautiful eyesWhat a pair o' lips, I'd like to try 'em for sizeI'll just tell him, "Baby, won't you swing it with me"Hope he tells me maybe, what a wing it will beSo, I said politely "Darlin' may I intrude"He said "Don't keep me waitin' when I'm in the mood"
First I held him lightly and we started to danceThen I held him tightly what a dreamy romanceAnd I said "Hey, baby, it's a quarter to threeThere's a mess of moonlight, won't-cha share it with me""Well" he answered "Baby, don't-cha know that it's rudeTo keep my two lips waitin' when they're in the mood"
In the mood, that's what he told meIn the mood, and when he told meIn the mood, my heart was skippin'It didn't take me long to say "I'm in the mood now"In the mood for all his kissin'In the mood his crazy lovin'In the mood what I was missin'It didn't take me long to say "I'm in the mood now"
"Monday, Monday" is a 1966 song written by John Phillips and recorded by The Mamas & the Papas for their 1966 album If You Can Believe Your Eyes and Ears. It was the group's only number one hit on the U.S. Billboard Hot 100.
Phillips said that he wrote the song quickly, in about 20 minutes. This song includes a false ending, when there is a pause before the coda of the song, and goes up a half note for the bridges and refrains of the song. It was the second consecutive number one hit song in the U.S. to contain a false ending, succeedingGoodLovin' by the Young Rascals.
Monday Monday, so good to me,Monday Monday, it was all I hoped it would beOh Monday morning, Monday morning couldn't guaranteeThat Monday evening you would still be here with me.Monday Monday, can't trust that day,Monday Monday, sometimes it just turns out that wayOh Monday morning, you gave me no warning of what was to beOh Monday Monday, how youldcou leave and not take me.Every other day, every other day,Every other day of the week is fine, yeahBut whenever Monday comes, but whenever Monday comesYou can find me cryin' all of the time
"Yesterday" is a song originally recorded by the Beatles for their 1965 album Help!. Although credited to "Lennon–McCartney", the song was written solely by Paul McCartney. It remains popular today with more than 2,200 cover versions, and is one of the most covered songs in the history of recorded music. At the time of its first appearance, the song was released by the Beatles' record company as a single in the United States but not in the United Kingdom Consequently, whilst it topped the American chart in 1965 the song first hit the British top 10 three months after the release of Help! in a cover version by Matt Monro. "Yesterday" was voted the best song of the 20th century in a 1999 BBC Radio 2 poll of music experts and listeners and was also voted the No. 1 Pop song of all time by MTV and Rolling Stone magazine the following year. In 1997, the song was inducted into the Grammy Hall of Fame.
Broadcast Music Incorporated (BMI) asserts that it was performed over seven million times in the 20th century alone.
"Yesterday" is a melancholy acoustic guitar ballad about the break-up of a relationship. McCartney is the only Beatle to appear on the recording, and it was the first official recording by the Beatles that relied upon a performance by a single member of the band. He was accompanied by a string quartet. The final recording was so different from other works by the Beatles that the band members vetoed the release of the song as a single in the United Kingdom. (However, it was issued as a single there in 1976.) In 2000 McCartney asked Yoko Ono if she would agree to change the credit on the song to read "McCartney–Lennon" in theThe Beatles Anthology, but she refused.
Yesterday, all my troubles seemed so far awayNow it looks as though they're here to stayOh, I believe in yesterday
Suddenly I'm not half the man I used to beThere's a shadow hanging over meOh, yesterday came suddenly
Why she had to goI don't know, she wouldn't sayI said something wrongNow I long for yesterday
Yesterday love was such an easy game to playNow I need a place to hide awayOh, I believe in yesterday
Why she had to go?I don't know, she wouldn't sayI said something wrongNow I long for yesterday
"Alexander's Ragtime Band" is a song by Irving Berlin. It was his first major hit, in 1911. There is some evidence, although inconclusive, that Berlin borrowed the melody from a draft of "A Real Slow Drag" by Scott Joplin that had been submitted to a publisher.
Oh ma honey, oh ma honey,Better hurry and let's meander.Ain't you goin', ain't you goin'?To the leader man, ragged meter man?Oh ma honey, oh ma honey,Let me take you to Alexander's Grand stand brass band,Ain't you comin' along?
Come on and hear, come on and hear,Alexander's Ragtime Band.Come on and hear, come on and hear,It's the best band in the land!They can play a bugle call like you never heard before.So natural that you want to go to war.That's just the bestest band what am, honey lamb.Come on along, come on along, Let me take you by the hand.Up to the man, up to the man,Who's the leader of the band!And if you care to hear the Swanee River played in ragtime,Come on and hear, come on and hear,Alexander's Ragtime Band!
Oh ma honey, oh ma honey,There's a fiddle with notes that screeches.Like a chicken, like a chicken.And the clarinet, is a coloured pet.Come and listen, come and listen,To a classical band what's peaches.Come now, somehow,Better hurry along!
Charles Randolph "Randy" Goodrum (born July 7, 1947 in Hot Springs, Arkansas) is an American songwriter. Goodrum has written (or co-written) numerous popular songs, including Anne Murray's #1 hit "You Needed Me" (1978).
Anne Murray won the Grammy for Best Female Vocal with Goodrum’s song "You Needed Me." The song was also awarded song of the year from the Academy of Country Music, and has received numerous other accolades. A 1999 remake of the song by Boyzone, reached #1 in Europe.
I cried a tear, you wiped it dryI was confused, you cleared my mindI sold my soul, you bought it back for meAnd held me up and gave me dignitySomehow you needed meYou gave me strength to stand alone againTo face the world out on my own againYou put me high upon a pedestalSo high that I could almost see eternityYou needed me, you needed me
And I can't believe it's youI can't believe it's trueI needed you and you were thereAnd I'll never leave, why should I leave?I'd be a fool 'cause I finally found someone who really caresYou held my hand when it was coldWhen I was lost you took me homeYou gave me hope when I was at the endAnd turned my lies back into truth againYou even called me "friend"
"Rainbow Connection" is a song written by Paul Williams and Kenneth Ascher and originally performed by the character of Kermit the Frog (Jim Henson) in The Muppet Movie in 1979.
Why are there so manySongs about rainbowsAnd what's on the other sideRainbow's are visionsThey're only illusionsAnd rainbows have nothing to hideSo we've been told and some chose toBelieve itBut I know they're wrong wait and seeSomeday we'll find itThe Rainbow ConnectionThe lovers, the dreamers and me
Who said that every wishWould be heard and answeredWhen wished on the morning starSomebody thought of thatAnd someone believed itAnd look what it's done so farWhat's so amazingThat keeps us star gazingWhat so we think we might seeSomeday we'll find itThat Rainbow ConnectionThe lovers the dreamers and me
Have you been half asleepAnd have you heard voicesI've heard them calling my nameAre these the sweet sounds that calledThe young sailorsI think they're one and the sameI've heard it too many times to ignore itThere's something that I'm supposed to beSomeday we'll find itThe Rainbow ConnectionThe lovers, the dreamers and me
Overture (French ouverture; German Ouvertüre, Vorspiel; Italian overtura; i.e. opening) in music is the term originally applied to the instrumental introduction to an opera. During the early Romantic era, composers such as Beethoven and Mendelssohn began to use the term to refer to independent, self-existing instrumental, programmatic works that presaged genres such as the symphonic poem. These were "at first undoubtedly intended to be played at the head of a programme".
mod·e·ra·toadv. & adj.MusicAbbr. mod. In moderate tempo that is slower than allegretto but faster than andante. Used chiefly as a direction.
[Italian, from Latin modertus, moderate; see moderate.]
adjective or adverb\
: becoming animated —used as a direction in music
It, animating, fr. L animandium, gerund of animare
Maestosois an Italian musical term and is used to direct performers to play a certain passage of music in a stately, dignified and majestic fashion (sometimes march-like) or, it is used to describe music as such.Maestoso also is associated with the advent of Classicism, Romanticism, and the newer forms of Neo-Classicism and Neo-Romanticism. The interpretation of "Maestoso" is varied by the conductor depending upon the overall style in which the piece is written. Used as more of an interpretive choice, this term is not always associated with a specific tempo or tempo range. The term is commonly used in relatively slow pieces, but there are many examples - such as the first movement of Mozart's Flute Concerto no. 1 - in which a faster tempo can be played in such maestoso.
[Italian]A directive to a performer that the music of the indicated passage should have more motion, it should move more quickly.
an·dan·te (än-dänt, n-dnt) Musicadv. & adj. Abbr. and.In a moderately slow tempo, usually considered to be slower than allegretto but faster than adagio. Used chiefly as a direction.
n.An andante passage or movement.
[Italian, from present participle of andare, to walk, ultimately perhaps from Latin ambulre; see ambhi in Indo-European roots.]
Cantabile is a musical term meaning literally "singable" or "songlike" (Italian). It has several meanings in different contexts. In instrumental music, it indicates a particular style of playing designed to imitate the human voice. For 18th-century composers, the term is often used synonymously with "cantando" (singing), and indicates a measured tempo and flexible, legato playing. For later composers, particularly in piano music, cantabile indicates the drawing out of one particular musical line against the accompaniment (compare counterpoint).
Allegro – fast, quickly and bright (109–132 BPM)
non troppo- not too much
Adagio – slow and stately (literally, "at ease") (55–65 BPM)
Allegretto – moderately fast (98–109 BPM)
Tutti- All play (end of solo)
Dixieland music / New Orleans Jazz, sometimes referred to as Hot jazz or Early Jazz, is a style of jazz music which developed in New Orleans at the start of the 20th century, and was spread to Chicago and New York City by New Orleans bands in the 1910s.
Well-known jazz standard songs from the Dixieland era, such as "Basin Street Blues" and "When the Saints Go Marching In", are known even to non-jazz fans. Beginning with Dixieland, Riverboat jazz and to Chicago-style jazz or hot jazz as developed by Louis Armstrong and others. Chicago-style jazz or hot jazz was also a transition and combination of 2-beat to 4-beat, introducing Swing in its earliest form.
Ragtime (alternatively spelled rag-time or ragtime) is a musical genre that enjoyed its peak popularity between 1895 and 1918. Its main characteristic trait is its syncopated, or "ragged," rhythm. It began as dance music in the red-light districts of African American communities in St. Louis and New Orleans years before being published as popular sheet music for piano. Ernest Hogan was an innovator and key pioneer who helped develop the musical genre, and is credited with coining the term ragtime. Ragtime was also a modification of the march made popular by John Philip Sousa, with additional polyrhythms coming from African music. The ragtime composer Scott Joplin became famous through the publication in 1899 of the "Maple Leaf Rag" and a string of ragtime hits such as "The Entertainer" that followed, although he was later forgotten by all but a small, dedicated community of ragtime aficionados until the major ragtime revival in the early 1970s. For at least 12 years after its publication, the "Maple Leaf Rag" heavily influenced subsequent ragtime composers with its melody lines,harmonic progressions or metric patterns.
An arpeggio is a musical technique where notes in a chord are played or sung in sequence, one after the other, rather than ringing out simultaneously. This word comes from the Italian word "arpeggiare", which means "to play on a harp." An alternative translation of this term is "broken chord."
Aballad is a form of verse, often a narrative set to music. Ballads derive from the medieval French chanson balladée or ballade, which were originally "dancing songs". Ballads were particularly characteristic of the popular poetry and song of the British Isles from the later medieval period until the 19th century and used extensively across Europe and later the Americas, Australia and North Africa. Many ballads were written and sold as single sheet broadsides. The form was often used by poets and composers from the 18th century onwards to produce lyrical ballads. In the later 19th century it took on the meaning of a slow form of popular love song and the term is now often used as synonymous with any love song, particularly the pop or rock power ballad.
Medley (music), multiple pieces strung together
In music performance and notation, legato (Italian for "tied together") indicates that musical notes are played or sung smoothly and connected. That is, the player transitions from note to note with no intervening silence. Legato technique is required for slurred performance, but unlike slurring (as that term is interpreted for some instruments), legato does not forbid rearticulation. Standard notation indicates legato either with the word legato, or by a slur (a curved line) under notes that form one legato group. Legato, like staccato, is a kind of articulation. There is an intermediate articulation called either mezzo staccato or non-legato.
Crescendo, abbreviated cresc., translates as "gradually becoming louder", anddiminuendo, abbreviated dim., means "gradually becoming softer".
Swing, is a form of American music that developed in the early 1930s and became a distinctive style by 1940. Swing uses a strong rhythm section of double bass and drums as the anchor for a lead section of brass instruments such as trumpets and trombones, woodwinds including saxophones and clarinets, and sometimes stringed instruments such as violin and guitar, medium to fast tempos, and a "lilting" swing time rhythm. The name swing came from the phrase ‘swing feel’ where the emphasis is on the off–beat or weaker pulse in the music (unlike classical music). Swing bands usually featured soloists who would improvise on the melody over the arrangement.
ac·cel·er·an·do (ä-chl-ränd) Musicadv. & adj.Gradually accelerating or quickening in time. Used chiefly as a direction.
pres·to (prst)adv.1. Music In a very fast tempo, usually considered to be faster than allegro but slower than prestissimo. Used chiefly as a direction.
2. So suddenly that magic seems involved; right away.
n.pl.pres·tosMusicA passage or movement that is performed presto.
[Italian, from Late Latin praestus, quick, from Latin praest, at hand; see ghes- in Indo-European roots.]
gran·di·o·so (gränd-s, -z, grn-)adv. & adj.MusicIn a grand and noble style. Used chiefly as a direction.
[Italian; see grandiose.]
Program music or programme music is a type of art music that attempts to musically render an extra-musical narrative. The narrative itself might be offered to the audience in the form of program notes, inviting imaginative correlations with the music. A paradigmatic example is Hector Berlioz's Symphoniefantastique, which relates a drug-induced series of morbid fantasies concerning the unrequited love of a sensitive poet involving murder, execution, and the torments of Hell. The genre culminates in the symphonic works of Richard Strauss that include narrations of the adventures of Don Quixote, Till Eulenspiegel, the composer's domestic life, and an interpretation of Nietzsche's philosophy of the Superman. Following Strauss, the genre declined and new works with explicitly narrative content are rare. Nevertheless the genre continues to exert an influence on film music, especially where this draws upon the techniques of late romantic music.
len·to (lnt) Music adv. & adj. In a slow tempo. Used chiefly as a direction.
n.pl.len·tosA lento passage or movement.
[Italian, from Latin lentus, slow.]
(b. July 9, 1977)