Moreton Bay Symphony Orchestra
NEWSBEAT
MBSO certainly has been very busy over the past couple of months performing at
the Pastorale concert, fetes, the Einbunpin Festival and our Soirée.
What a tour! Our first ever tour went
extremely well, everyone had a great
time and the audience enjoyed
our performances in and around Toowoomba. St. Luke's church liked us so
much that they have even asked us
to come back next year to perform in
the Toowoomba Carnival of Flowers
festival as one of their main concert
attractions!
The MBSO Youth Symphony and MBSO Junior Strings flyers are now published and
have been distributed to schools and other groups in the community.
Both groups will rehearse from 6-7pm on Thursdays with the Youth Symphony then
combining with the main group, MBSO, from 7-8pm.
Similar to the MBSO Youth Symphony, players wishing to join the MBSO Junior
Strings ensemble in 2014 will be required to audition for placement within the ensemble.
Auditions for both the MBSO Youth Symphony and the MBSO Junior Strings were
held on the 23rd-24th November 2013 at Clontarf Beach State High School, Isobel
Street (opposite the end of Weaber Street), Clontarf. Late audition applications are
accepted with the audition excerpts are now available from our website.
Our 2014 Concert Series is coming together and will be released soon once locations are confirmed. The titles of next year's concerts are Our Heroes (March), New
Zealand Tour (June/July), Tchaikovsky (August), Soirée (September), The Wonderful
World of Animation (October) and Christmas (December). We can't wait to get
started!
Inside this
Issue
1
The way to love
anything is realize that it might
be lost.
Catch on fire with
enthusiasm and
people will come
from miles to
watch you burn.
What lies behind
us and what lies
before us are small
matters compared
to what lies within
us. (Emerson)
Logic takes you
from A to B.
Imagination takes
you everywhere.
(Albert Einstein)
Apathy is the
acceptance of the
unacceptable.
Legato is an Italian word
meaning ‘bound' or
‘tied’. In music it refers
to the technique of connecting
each
tone
smoothly to the next,
with no break between
the
two.
Musical
phrases are much more
interesting to listen to
when some notes are
detached and others
tied together than when
all the tones are articulated with a monotonous sameness.
singing or playing succes- around this by holding
sive tones on the same one tone until the next
breath.
one is sounded - producThe player of a stringed ing an overlapping of
instrument achieves his sounds that suggests a
legato by playing several true legato. The piano's
notes on the same bow sustaining pedal also
stroke and by continuous helps bind tones togethmotion of the bow with er.
no stopping at the end of In musical scores, legato
is indicated by a ‘slur’, a
a stroke.
curved line over or under
On keyboard instruthe tones to be connectments, such as the piano,
ed. If the composer
an absolutely smooth
writes the word ‘legato’
connection of one tone
at the beginning of a pasto the next cannot be
sage, he wants that pasSingers and wind players
made so the player gets
sage played as smoothly
secure a legato effect by
as possible.
Legato style in Debussy’s Etude No. 1 ‘Pour les Cinq Doigts’
Legato style in the left hand part from Beethoven’s Sonata No. 6 Op. 10 No. 2 Allegro movement.
2
Contact Us
Transposition
is
the
changing of the pitch of a
musical work, or part, either in writing or performance. Sometimes the
melody of a song lies too
high or too low for a particular singer or group of
singers. When transposition of a song is necessary, the accompanist is
expected to make the required adjustment - that
is, to play it in a higher or
lower key than written.
The singer has no problem as he merely sings his
melody by ear. The pianist, however, must develop skill at transposition
- a skill that results from
practice, a knowledge of
music theory and a good
ear.
must be adept at transposition. Unless he writes for
strings only, he will be writing
parts for transposing instruments - such as clarinet,
trumpet, French horn and
saxophone - in his scores.
Some composers, to save
time, write clarinet, trumpet
and horn parts at their actual
or concert pitch. This leaves
the job of transposition to the
person who actually copies
The composer or arranger
out the individual parts.
case with most folk tunes,
the transposition is done by
means of harmonic analysis. A tonic chord on the
first degree of one scale is
changed to the tonic chord
of the new key. For example in the key of C the three
primary chords are built on
C, F, and G. In the key of Eb,
these chords become Eb,
Ab and Bb.
Website:
www.mbso.org.au
Find us on
Facebook
eNewsletter signup:
http://eepurl.com/kuohz
Email:
[email protected]
President: Eve Brown
Phone: 0409 569 348
Friends’ Convener:
Mary Cupitt
38 Dunbar St, Margate,
Qld 4019.
Phone: 3283 5870
Orchestra
Vacancies
We currently have
vacancies in the
following instruments:
Violin
Viola
Cello
Double Bass
Oboe
French Horn
In transposing a work up
or down a semitone - A to
Ab for example, the player mentally changes the
key signature - from no
sharps to seven sharps,
from three sharps to four
flats, and so on - and
reads the notes as
written. Chromatic changes and modulations make
the job more difficult.
If the harmony of a piece
is simple enough, as is the
3
If you are approximately AMEB or Trinity College of Music
Grade 5 or above,
please feel free to
contact us for more
details.
1
2
3
6
7
4
5
8
9
10
11
13
12
14
15
16
17
18
21
22
23
19
20
24
25
27
26
28
29
30
32
31
33
36
38
Across
1. Expected in cold countries at Christmas.
4. (Abb.) Post Post Script.
6. A wreath of flowers.
7. Enzio________ (bass).
9. _______Galla Curci soprano.
10. A type of dancing; water faucet.
11. Rested on a seat.
13. Gaetano ________ (composer).
15. A piece of Earth.
16. Fourth note of the solfa scale.
17. Chemical element (Iridium).
19. (Abb.) saint or street
21. Elizabeth ________ - Soprano.
27. Large jug.
28. A legume grown in West Indies to make indigo.
29. Belonging to me.
30. Adam is missing this curved bone.
31. Chemical element (Calcium).
32. A measure of length.
33. A state of uproar or confusion.
36. In, on or near that place.
37. Old English ‘You’.
38. Eager.
39. Jerry________ (comedian), born in 1926 in the
4
USA.
34
35
37
39
Down
2. From the Enigma V ariations by Edward Elgar.
3. A drilling tool; mouthpiece of a bridle.
4. Adelina ________ soprano)
5. (Abb.) sopranos.
7. Enzio______still a bass.
8. Very unpleasant.
12. In, on that place.
13. James_______ jazz clarinetist from the early
1900s.
14. On condition that.
15. Spanish "yes"
18. Bing _____made W hite Christmas famous.
19. Scandinavian singer & poet in ancient times.
20. Measure of weight.
22. (Abb.) Chemical warfare.
23. Woody ________ band leader/clarinet player.
24. Joint of the arm/hand.
25. A type of print.
26. Tongues of fire.
29. Thelonius _________ jazz composer.
34. A long fish
35. Rules of a country.
(Continued from last issue)
Trombones began to be
called for by composers
from around 1600. Giovanni Gabrieli and his pupil
Heinrich Schutz used trombones in their sacred music
for several choirs. Schutz's
lament of David for his son
Absalom (Ach, mein Sohn
Absalom) -- one of his most
beautiful works—starts with
a dark-coloured passage for
four trombones. The somber effect of trombones also appealed to Monteverdi,
who used five of them to
accompany the chorus of
underworld spirits in his
opera Orfeo.
The trombone was neglected for a time in the early
1700s as composers became interested in newer
instruments -- violins,
oboes and clarinets. Bach
used trombones only with
the voices in his choruse s. T he t ro mb o ne
dropped out of favour
even in military bands until almost 1800. It was
the composer Gluck who
brought the trombone
back into music - in his
search for orchestral
sounds that would match
a dramatic mood, he rediscovered the trombone
and used it in his opera
Orfeo and Alceste.
In 1808 Beethoven first
used the trombone was in
a symphony orchestra
when he called for three
trombones in the finale of
his Fifth Symphony.
Brahms, Wagner and
Strauss were particularly
fond of its rich sound and
gave it weighty, choralelike passages. When the
tuba was invented in the
1830s, it became the
bass instrument of the
trombone choir. In orchestral scores, the
parts for the trombone
and the tuba are often
written on the same
staff.
5
Although there is not a large
repertoire of solo or chamber
music for trombone, it was
one of the earliest instruments used in jazz bands, especially in New Orleans where
jazz bands played at funerals
and rode on advertising wagons. These players became
‘tailgate trombonists’ and
used swooping glissandos to
move from note to note. Stravinsky calls for a glissando in
the uproarious Dance of the
Infernal Kastchei in his Firebird Suite. A sobbing sound
was developed as a part of
the trombone repertoire of
sounds and trombonist
George Brunis even managed
to play the slide with his foot!
Before mutes were developed,
trombonists used rubber
plungers.
Many of the great names in
jazz are those of trombonists—
‘Miff' Mole, Kid Ory, Tommy
Dorsey, Jack Yeagarden, J.C.
Higginbotham and J.J. Johnson.
Don't let yesterday use
up too much of today.
(Will Rogers)
To be of a
peaceable spirit
brings peace
with it.
Imagination is the
doorway to a world
where dreams come
true.
Aaron Copland was one of the first American composers to have his works played all
over the world. Born in Brooklyn, New York, Copland did not begin to study music until
he was thirteen, but once started, he moved on rapidly. His piano piece The Cat and the
Mouse was published in 1921, when he was 21. That year Copland went to Paris and
studied with Nadia Boulanger, becoming one of the first Americans to study at a French,
rather than at a German University.
Copland returned to America in 1924 and in 1925 wrote Music for the Theatre. This
breezy, brassy work brought a fresh sound to music, using jazz as well as the ‘corny’
sounds of a vaudeville orchestra. Alternately boisterous and reflective, this work was
greeted by musicians as the voice of a gifted young composer. Copland won the first Guggenheim fellowship for music and many subsequent commissions and prizes.
In addition to composing, Copland lectured, organised concerts for other musicians, composed and conducted his own and others’ music and taught students from all over the
world. Copland has written four books of musical instruction.
Copland’s compositions are for all people. For young people he wrote The Second Hurricane and his Outdoor Overture was written for High School students. Tuneful, musical and
easy to follow, it is rhythmic and colourful, similar to Four Piano Blues and Billy the Kid.
Copland’s well-known Appalachian Spring won him a Pulitzer Prize and A Lincoln Portrait
(for speaker and orchestra) is based on old folk tunes. The music Copland has written for
movies is more expressive and dramatic than his instrumental and orchestral works.
Copland’s chamber and symphonic work is deeper and more difficult to understand. The
music tends to be sparse and rugged, as though chiselled out of rock and often moves in
large leaps. The pieces are often built from short motifs and as they move along the motifs grow as more notes are added. Copland’s harmonies are dissonant even when the
chords seem to be simple. He likes to change the meter of the music from measure to
measure, and to pile up the sounds from the bottom to the top of the piano.
Not all his work is like this. Copland can be tender and intensely personal. He never does
anything just to be different
and uses the sounds to convey exactly what he intends.
Born: 14th November, 1900
The utmost we can hope
for in this life is
contentment.
Known as an American Composer,
composition teacher, writer & as a
conductor.
Known for:
 Appalachian Spring
 Billy the Kid
 Rodeo
 Fanfare for the Common Man
 Third Symphony
Died: 2nd December, 1990
6
Clontarf Beach State High School
www.clonbeacshs.eq.edu.au
Redcliffe [Framing]
Redcliffe[Framing]
www.redcliffeframing.com
Moreton Bay Regional Council
www.moretonbay.qld.gov.au
Our Lady of the Assumption Catholic
Primary School, Enoggera
www.olaenoggera.qld.edu.au
www.olgr.qld.gov.au
L
S
N
E
I
A
M
O
E
W
L
R
D
O
S
O
D
I
R
M
P
I
N
I
T
A
N
N
P
I
Z
F
A
T
I
S
T
K
O
P
E
O
A
N
I
L
S
L
C
A
A
M
W
E
R
R
I
M
S
B
E
A
T
Y
E
N
E
N
S
Y
E
C
P
T
W
B
A
T
E
A
Y
O
T
C
A
A
S
A
C
E
Z
P
S
S
O
K
B
R
Z
L
D
L
A
7
E
W
E
I
Harold Cassell
Moya Cassell
Mary Cupitt
Pamela Deeming
Fiona Dockrill
Sheila Dockrill
Enid Fleming
Edlyn Grant
Phill Grant
Lois Griffiths
Nicole Hinze
David Judd
Shirley Judd
Graeme King
Nance King
Tars Lim
Ita MacNamara
Larry Mann
Lesley Mann
Fay Mortimer
Mary Osborne
Bethnee Perrin
Elizabeth Reeve
Jeff Ritchie
Jenny Ritchie
Joy Simpson
June Thompson
Kathryn Thompson
Mark Thompson
,
moods[photography]
www.moodsphotography.com
S
‘Sharing a love of music with the Moreton Bay community’
A member of the audience and yourself both write several five figure
numbers on a piece of paper. You then ask the member of the audience
to add them up but, before he can do it, you are ready to give the result!
Moreton Bay
Symphony
Orchestra
Inc.
Many thanks to Mary
Cupitt, Alexander Rodrigues,
Eve
Brown,
Bronwyn Gibbs and OLA,
Enoggera who helped in
the process of this newsletter.
Also thanks to moods
[photography] (photos),
Alexander
Rodrigues
EXPLANATION: First of all the member of the audience can put down
two five–figure numbers. Then in your turn, you put down a five-figure
number but in doing so take care that your number added to the preceding number gives a result of 9. The member of the audience will
again put down a number and then you, taking care that this will also
give 9 as a result when added, to the preceding number, put down another number.
EXAMPLE:
63984 (the member of the audience's first number)
13762 (the member of the audience's second number)
86237 (your number in which each figure comes to 9 when added to
the figure above it)
36485 (the member of the audience's third number)
63514 (your number in which each figure comes to 9 when added to
the figure above it)
------------------------------------263982 the result
You will immediately know the result by subtracting two from the first
number given by the member of the audience and by placing two in
front of it.
Application for MBSO Friends Membership, 2014
I/WE WOULD LIKE TO:
(please tick)
Become a Friend
Assist with raffles at concerts
Help serve refreshments at concerts
I would like to receive Newsbeat:
By email
In hardcopy
From the website
Name: ______________________________________________________________________________
Address: ____________________________________________________________________________
__________________________________________ Post Code:_________________________________
Telephone:____________________ Email: _________________________________________________
PLEASE PRINT CLEARLY IN ORDER TO HAVE YOUR NAME LISTED CORRECTLY
ON NEWSLETTERS AND PROGRAMMES
Subscription for 3 concert:
Adult $45
Concession $36
Send this form and cheque to: MBSO Friends’ Convenor,
38 Dunbar St, Margate,
Qld 4019.
OR
Email this form to:
[email protected]
© Moreton Bay Symphony Orchestra Inc.
Issue 04 ~ NOVEMBER/DECMBER 2013
Volume 2