Saad Haddad T A K H T. for orchestra. Full Score -DIB PRESS-

Size: px
Start display at page:

Download "Saad Haddad T A K H T. for orchestra. Full Score -DIB PRESS-"

Transcription

1 Saad Haddad T A K H T r rcestra Full Scre DI PRESS.saadaddad.cm

2 INSTRUMENTATION Flutes (rd Flute dules Piccl) 2 Oes Clariets i lat (rd Clariet i lat dules ass Clariet i lat) 2 asss Ctraass Hrs i F 2 Trumets i C 2 Ter Trmes ass Trme Tua Timai ( drums) Percussi 1 Glckesiel (ed) Percussi 2 Marima (ctave) Har Pia Strigs Scre i C Durati: ca. 12 miutes PERFORMANCE NOTES* Accidetals: Dased Arr: Featered eamig: Grace tes: Micrtes: Pia: Sigig: Accidetals carry trug eac measure; tey d t carry trug dieret ctaves i ay give ar uless terise tated. A dased arr sigiies a gradual cage (additial istructis i scre). Tis tye eamig ss a gradual cage i te seed te tes. It is s it a rimary straigt eam ad ter diagal secdary eams (tat tgeter resemle a eater). Tese secdary eams suggest a gradual accelerati r decelerati rm te irst te value iti te eatered eam t te last. We similar gestures are duled trugut te esemle (tis icludes memers te strig sectis), tey are t meat t lie u erectly ad suld rduce a smearig, almst kaleidscic, eect. All grace tes suld e layed as ast as ssile ad cect ere teir resective te. A accidetal it e arr idicates t ler itc y arximately 0 cets; a accidetal it t arrs idicates t ler itc y arximately 7 cets. Lay e lg micre cale (r similarly isulated ire) te ia strigs etee G ad G. Tis sas te etire rage te art. Make sure te cale des t tuc te damers. Te resultig sud suld vary rm e key t te ter; te keys suld t ave a uiied sud. Kee te cale iside r te durati te iece. Sig itces idicated it square teeads it istrumet. I te tated itc is ut te rage te errmer, adjust te ctave accrdigly. Tis tecique ccurs i te lute, clariet, ass trme, tua, ad ar. *Additial errmace istructis aear trugut te ull scre. PROGRAM NOTE Te title tis rk, Takt ( esemle i Araic), descries te tyical Middle Easter musical gru tat csists mst te traditial istrumets used i Araic music, icludig te ud, qau, kamaja, ey, riqq, ad darake. I a ay, te istrumetati r tis rk is te Wester equivalet tat esemle, emlyig e eac te mst cmmly used istrumets i te ull symy rcestra. Sme te istrumets eve verla etee te grus; r examle te ey is similar t te lute i cstructi, ile te kamaja suds very muc like te vili. A gig muse i my utut tus ar is te vice argualy te mst amus Egytia siger ever lived, Umm Kultum ( ), te Star te East. I tis articular rk, er vice, i a sese, is rugt ack t lie as te dids, rass, ad ar istrumetalists literally sig ad lay it teir istrumets, trasrmig te all it a astract deicti Umm Kultum s ermeatig resece i te lives millis ele tat ctiue t adre er tday. te y te cmser Fr mre irmati, visit:.saadaddad.cm

3 Scre i C Flute TAKHT r rcestra Saad Haddad Witrevereceq U Flute dl. Piccl U Oe Clariet Clariet dl. ass Clariet ass Ctraass U U U U U F Hr U F Hr U C Trumet U Ter Trme U ass Trme U Tua U Timai Percussi Percussi U / U / U Har* Pia U a *detue ar as lls y cets: sl, sig it a sud le at te ack te sudard ) ) #) ) ) gliss. U a Vili Vili Vila Witrevereceq U U U Vilcell Ctraass U U Cyrigt Di Press (ASCAP).saadaddad.cm All Rigts Reserved.

4 Fl. 8 a, lay idicated itc a, *sig idicated itc it istrumet stagger reat as eeded ** # m legat ) ) ) ) ) ) H. #) ) ) #) ) ) a a Fl sim. # m ) ) ) H. Vl. Fl. #) ) ) #) 18 sl, ricial c srd a gl. # # j esress. j j O O O O O O ***last desk, utside c srd O O j Oj O j O O O O esress quasi gl. Cl. ) ) ) a, lay idicated itc a, *sig idicated itc it istrumet stagger reat as eeded ** j m legat ) ) ) H. ) ) a Vl. O O O O O O j O j j quasi gl. O O O j O O Oj O ~ Vl. sl, ricial c srd esress. gl. j j j j j O O O j j < O O s O O s ***last desk, utside c srd O Oj O Oj Or j O j j O j O O O O O esress. s s quasi gl. *Sig idicated itc it istrumet. I te itc is ut layer's rage, sig e ctave el te idicated itc. **Oscillate slly ack ad rt etee layig ad sigig it istrumet uder te dtted slur. ***Last desk earest t audiece.

5 Fl. 2 m # j # ) ) ) ) Cl. # ) ) j H. Vl. #) ) 7 # j j j s O # O # O O O j O O O Oj O j # j j O O O O O O j s s s s quasi gl. a quasi gl. Vl. # O j O j # O O ~ Oj O O O j O # O O j O O j O # j j O Oj j j Cl. 29 m # j j j # ) ) F H. T,, r igerig legat m H. ) #) Vl. Vl. s j j O Oj seza srd O O ~ Ȯ O O j j # O O j O O # O j j O j s s s IV seza srd seza srd j O O O j O O # j O O # ~ Ȯ s quasi gl. seza srd

6 Fl. O. Cl. F H. F H. H. Vl. Vl. m a a, lay a, sig it istrumet m. # m m *+1 sl, ricial j j j O O O O O # O O O s s 7 s s. desk, iside O O O # O O O O O O O O O O O s a, lay a, sig it istrumet T,, r igerig # j ) ) ) ) ) #) sl, ricial ) ) # j # j # O j. desk, iside O O j s m s m O O Fl. O. 7.. j # m.. # m m Cl. # ) F H. F H. m m m Vl. 7 O j O O O O O O # O O O O O j s s s s s +1 O O O O O O O O O O O O +1 Vl Ȯ O O O Oj O j j O O O O O O s +1 0 O O j # O O Oj Oj O j O O O O s s +1 *+1: Add utside layers i rder y desk. I tere are still mre +1 idicatis, add iside layers i rder y desk.

7 Fl. O. F H. F H. C Tt. Vl. 1 # m m O O O O O O O O O O O O O O O O O O O O O O O O O O O. # # # quasi gl. # # m m # Vl O O O Oj O j j O O O O O O s 0 O j # O O Oj Oj O j O O O # O s s div F H. C Tt. C Tt. T. T. Vl. Vl. div. div. div. m m m O O O O O O Oj O +1 # O O Oj O # O O j O O Oj O j +1 # O O O O O O Oj O Ȯ O # O # O j O O Oj O j O O # # O O O O cresc. c a c dim. c a c cresc. c a c a <# m dim. c a c cresc. c a c cresc. c a c # m a # # # # ## O O O O O O # # O O # j O O O O O O O O # # O

8 Cl.. Cl. s. F H. C Tt. T. Perc. Vl. Vl. Cl.. Cl. s. Perc. 7 rit. atem(q) H. P. # # m <# 2 rasdically alterate etee ast ad sl gestures trugut î m (la metà) rasdically alterate etee ast ad sl gestures trugut lay it ads util terise idicated, ad li. asycrus rit. atem(q) O O O O O ~ ~ Ȯ dim. c a c O O O O O ~ ~ Ȯ dim. c a c * # # O O O # # O O * # # O O O O O m 7 m O legat; tuc edal trugut, led it ar m (la metà) rasdically alterate etee ast ad sl gestures trugut Marima very sl aster eve aster very sl aster eve aster very sl aster eve aster *ad li. asycrus, rasdic 'strummig' it idex ad middle igers; div. trugut; d t attemt t matc te umer tes tat are idicated i eac measure; stagger strummig i eeded trugut. í RH islig. î # # O O O R O Ȯ lay strig idicated it x teead j j j j ** j LH tuig rk laced ere j j j **lie idicates t slide te tuig rk etee tated sudig itces te strig idicated it x teead Y Y Y j m

9 Cl. Perc. 7 a, lay H. 9 a, sig it istrumet cresc. î î gradually sl d (i time) í m gradually sl d j m dim. ) ) ) Y Y Y Y Y j (i time) j j P. í gradually sl d (i time) 9 R j j j Cl. 2 # Perc. H. Perc. Perc. # î 7 H. Vl. Vl. dim. **itces i aretesis tial (LH eeded r tuig key) î î ) *sl d *sl d ** # 9 # 9 # X (i time) la metà, c srd m m m m m Ȯ O gradual gliss. m Oj Oj O Oj Oj m m m la metà, c srd # # O r O j j O Or m m O r j O j O m m 0 0 # # Glckesiel, ed *maitai tem; racketed tes sl d i te durati te measure. j j j # # # # #R # # # # # R R R j

10 Perc. H. 72 (Glckesiel, ed) # r j j r j # r j m m m m # # R R # # # #R # # # # # # # # # # R R R R R Vl. Vl. Perc. Perc. H. P. Vl. Vl. 7 j O m (al, mute) O O m m Oj Oj O Oj Oj O O j Oj m m m m m (al, mute) Or # # r O Ȯ # # O r O j j O Or m m m O r O j j O Or # # r O O j j m m m O m m m Or Or Ȯ m (Marima, lay it ads as ere) î j j Y seza srd seza srd legat; tuc edal trugut, led it ar la metà (as ere) R j j j j j la metà (as ere) Fl. Perc. 81 a, lay j î î m 8 a, sig it istrumet cresc. ) ) ast H. gradually sl d (i time) j # # m Y Y Y Y Y P. # gradually sl d (i time) 8 r j

11 Fl. 8 sl (i time).. # m ) ) # # O. O. Perc. H. P. Vl. # j j # # m m m # m dim. rasdically alterate etee ast ad sl gestures trugut j j j # Y rasdically alterate etee ast ad sl gestures trugut # add layers add layers m. desk # tutti tutti # 0 0 # m m Fl. Fl. O. O. Perc. H. P. Vl. Vl. 91 # # # # #.. desks m # div.... desks # sim. #.. desks div. sim.... desks # # #

12 Fl. Fl. O. O.. Cl. s. Cs. F H. Ta. Perc. 9 H. P. Vl. (Marima, lay it ads) # crit. m atem(q) cresc. m dim. a cresc. m dim. cresc. m dim. cresc. m dim. cresc. m dim. m EF#GA DC dim. c a c # # # # # # # j # gradually desced gradually desced dim. dim. crit. atem(q)... desks # # # # # j gradually desced (use itces rm mm. ly) # j # # gradually desced (use itces rm mm. ly) j Vl. (... desks)... desks (strum) m m m dim. dim. m m dim. (strum) *remve layers *remve layers *remve iside layers, egiig rm last t irst desks.

13 . Cl s. Cs. F H. Ta. Perc. H. P. Vl. Vl. 101 rasdically alterate etee ast ad sl gestures *remve desks rasdically alterate etee ast ad sl gestures m m sl, ricial 7 ** î j j j la metà la metà sl, ricial î ** j j j j j j j *remve desks, egiig rm last t irst desks. **very srt, almst egligile ause etee grace te ad ext te; alies t all similar igures. Fl. Perc. 10 m a, lay cresc. a, sig it istrumet j # ) ) ) î m Vl. *add desks 0 quasi gliss. # tutti **remve desks m gradually sl d (i time) last desk, utside ***add desks î Vl. *add desks 0 m quasi gliss. last desk, utside # tutti **remve desks gradually sl d (i time) ***add desks î m m m *add desks, egiig rm irst t last desks. **remve desks, egiig rm irst t last desks. ***add desks, egiig rm last t irst desks.

14 Fl. O. O. F H. 109 a legat m.. # # dim. # m dim. a. T. Ta. # legat legat Perc. (Marima, lay it ads) # m Vl. tutti j j j # rasdically alterate etee ast ad sl gestures trugut dim. c a c (m) () q # Vl. (la metà) tutti j j j # rasdically alterate etee ast ad sl gestures trugut dim. c a c *add layers (m) tutti 0 # m (la metà) *add layers tutti 0 # m m *add iside layers, egiig rm last t irst desks.

15 Fl. Fl. O. O. 11 # # m # <# # # m # # Cl.. Cl. a cresc. c a c cresc. c a c j F H. F H.. T. Ta. Perc. Vl. Vl. m dim. m dim. m (m) () cresc. c a c cresc. c a c # # # # #

16 Fl. Fl. O. 118 # # 121 # # # O. Cl.. Cl. a j * m m m m j * s. Cs. a # m # m F H. F H. * m m # m. T. Ta. m cresc. Perc. (Marima, lay it ads) Vl. # 121 # Vl. # (strum) arc dim. c a c (strum) (strum) dim. c a c strum ad li. asycrus, rasdic dim. c a c * Cl. /,. Cl, ad F H. micrte suld e i tue it eac ter.

17 Fl. 122 Cl.. Cl. s. Cs.. sl, esress. j # m sl, esress. m dim. F H. F H. Ta. Vl. Vl. *remve layers gradually sl d (m) *remve layers gradually sl d (m) *remve layers gradually sl d () last desk, utside *remve layers e y e, egiig rm irst t last desks.

18 . Cl. s. 128 (sl, esress.) 129 m m m (sl, esress.) # m m # j Perc. Glckesiel, ed j j j j j # m m m m j H. Vl. Vl. # # # # #R # # # # R R R # # # R R R R Y la metà 129 Ȯ O m Oj Oj O O Oj Oj m m m m (arc) last desk, la metà # # O r O j j O Or m m O r O j O r O j j ## O Or m m m () utside (i time) (strum) last desk, utside (i time) O. O. Cl.. Cl. s. s. F H. F H. Perc. 1 H. Vl. Vl. O m Oj Oj O Oj Oj O O j Oj m m m m m # # O r O j j O Or m m Or O j j O Or ## O r O j m m m O j Or m () (i time) la metà, arc 1 m esress. dim. c a c m esress. dim. c a c m esress. m dim. c a c # # m m dim. c a c m m m dim. c a c # # m esress. m dim. c a c j j m esress. j j m esress. m m m m # # # #R # # # # # # # # # # # # R R R R R j j # j j # j j # r m 1 semre semre tutti, arc tutti

19 Fl. Picc. O.. Cl. s. 17 a F H. a F H. T. a, lay legat, cresc. a, sig it istrumet ) a ) ) ) m m Perc. í Marima, mallets * cresc. î î m H. Vl. Vl. í * m í * legat cresc. *tutti legat î *tutti legat *tutti legat î gradual gliss. m *ad li. asycrus, rasdically alterate etee ast ad sl gestures; div. trugut; d t attemt t matc te umer tes tat are idicated i eac measure; stagger i eeded trugut.

20 Fl. Picc. F H. F H. T. 12 a a a a (sig it istrumet) ) ) a (lay) m m j ). T. Ta. Perc. lay legat, cresc. lay legat, cresc. (Marima) m sig it istrumet ) (lay) sig it istrumet ) (lay) m m j j î j j ) ) m Vl. (i time) j m j div. Vl. (i time) j í j (i time) (i time) m m j j j j m j div. div. div. m

21 Fl. Picc. F H. F H. T.. T. Ta. Perc. Vl. Vl. Fl. Picc. F H. F H. T.. T. Ta. Perc. Vl. Vl. 17 í î î 12 div. trugut, as ere div. trugut, as ere div. trugut, as ere m ) m m m m ) ) ) ) ) div. trugut, as ere î í m m m (i time) ) ) (i time) ) m j j (i time) j j (i time) j j j j ) ) j j j j j j j div.

22 Fl. O. Cl. Cl. s. F H. accel. Fasterq 1 a, lay j # ) ) ) ) j # ) ) ) ) a, sig it istrumet a, lay a, sig it istrumet a j a m C Tt. C Tt. T. Tim. m m lay it ads util terise idicated; asycrus. sim.. s s s #. m H. sig it a sud le at te ack te sudard ) ) ) #) a Vl. accel. Fasterq j j. s s dim., asycrus s Vl. j j. s s s dim., asycrus s. s s dim., asycrus s s. s s dim., asycrus s s

23 Fl. Fl. O. 11 # # m m m m m m m O. Cl. Cl. Cl. # # m m m m m m R R R m m m j j j # # s. m m # C Tt. C Tt. # # m T. T. m m # m Tim. H. P... s s lay # # # # # # # # Vl. sim.. j j s s dim. s Vl. sim.. j j s s s dim. s sim.. s dim. s s sim.. s dim. s s izz. # m #

24 Fl. Fl. Fl. 1 # # 1 m m m m # # O. m O. R # m m # Cl. Cl. Cl. m m m m m m # # R j # R s. a m C Tt. # m C Tt. T.. m m m a a, sig it istrumet #) (a, lay) Tim.. cresc. " " " " # H. # # # # P. Vl. Vl. s s s 1 (izz.) # # arc m # # # #. æ. æ. æ. æ s s s s

25 Fl. Fl. Fl. O. O. Cl. 18 # # R # Cl. Cl. j j j s. Cs. C Tt. C Tt. T. ) ) ) ). T. Ta. Tim. " " " " î " " " " # Vl. s s s s s s Vl. s s s s s s s s s s s s s s s s s s

26 Fl. Fl. Fl. O. O. Cl. Cl. Cl. s. Cs. C Tt. C Tt. T. 172 a m # j j j # # a (sig it istrumet) ) a (lay) # R j j # ). T. sig e ctave ave idicated itc i ut rage ) j j ) Ta. sig e ctave ave idicated itc i ut rage ) j j ) Tim. Vl. Vl. (lay it ads) s s s s # # # # # # # #

27 Fl. Fl. Fl. O. O. 17 # # Cl. # # Cl. # R Cl. j j s. F H. a j F H. a j j C Tt. C Tt. T. #) ) ) Tim. " " " " # î " " " " Vl. 17 s s s s Vl. s s s s s s s s s s s s

28 Fl. Fl. Fl. O. O. Cl. Cl. Cl. s. Cs. F H. F H. C Tt. C Tt. T.. T. Ta. Tim. Vl. Vl. 180 (lay it ads) a a (lay) (lay) m (sig it istrumet) s s s s s s s s s s s s s s s s j j j # # # j # # j j j # ) ) a a (sig it istrumet) (lay) " " " " # R (sig it istrumet) î # # # # # # R # # ) ) j j

29 Fl. Fl. Fl. O. O. Cl. Cl. Cl. s. Cs. F H. F H. C Tt. C Tt. T. 18 m # j ) j # j j # a, rd. # # a # j # R. T. Ta. Tim. j j ) # ) mallets rd. rd. # æ æ Vl. # æ æ æ æ Vl. # æ æ æ æ # æ æ æ æ # æ æ æ æ

30 Cl. 188 s. a a Cs. F H. a # a F H. a a C Tt. a # a # # T. a # R # R a. T. Ta. Tim. æ æ # # æ æ æ Cl. s. Cs. F H. F H. C Tt. T. 19 TemIq 2 r a R 2 2 # # 2 r 2 r a 2 R # # R 2. T. 2 # # Ta. Tim. 2 # # æ æ æ 2 æ

31 Fl. 198 a, lay a, sig it istrumet j # m legat ) ) ) Cl. C Tt. a, lay j a, sig it istrumet ) C Tt. Perc. í Marima very sl aster eve aster rasdically alterate etee ast ad sl gestures trugut lay it ads util terise idicated, ad li. asycrus H. Vl. Vl. * í a cresc. c a c j O O O # Oj O Oj Ȯ esress. la metà, very sl aster eve aster rasdically alterate etee ast ad sl gestures trugut * la metà, very sl aster eve aster rasdically alterate etee ast ad sl gestures trugut * í la metà, very sl aster eve aster rasdically alterate etee ast ad sl gestures trugut sig it a sud le at te ack te sudard ) ) #) sl, ricial, c srd ** (RH islig.) utside layers, c srd*** **** 1 O *ad li. asycrus, rasdic 'strummig' it idex ad middle igers; div. trugut; d t attemt t matc te umer tes tat are idicated i eac measure; stagger strummig i eeded trugut. **+1: Add utside, c srd layers i rder y desk. I tere are still mre +1 idicatis, add iside, c srd layers i rder y desk. ***I t eug utside layers, use iside layers i rder y desk. **** 1:Sutractlayers i reverse rder y desk (i iside layers are eig used, sutract tse layers irst, i reverse rder y desk).

32 Cl. Perc. 20 j j # H. P. Vl. Fl. Cl. Perc. (Marima, lay it ads) (la metà, strum) 210 a, lay H. m legat m cresc. c a c esress. 1 (la metà, strum) (la metà, strum) 208 legat; tuc edal trugut, led it ar a, sig it istrumet 208 (Marima, lay it ads) í î î j j j j Y j m legat Y j j j a, lay ) ) ) Oj O j O O O Oj R # gradually sl d j a, sig it istrumet tutti, arc m legat j j j # j j ) ) ) j ) ) Y Y Y Y Y (i time) m P. m gradually sl d dim. c a c (i time) Vl. sl, ricial, c srd esress O O O j # Oj O Oj Vl. m sl, ricial, c srd j O O O esress. í

33 Fl j ) Cl. Perc. H. P. Vl. Vl. Fl. í î j j j Y Y Y R j j j Ȯ m m legat 218 # Oj O Oj Ȯ 220 j j j j # m legat j j j # j ) ) ) layers (c srd) layers (c srd) esress. 1 layers (c srd) esress. ) ) ) O j O Cl. j j m legat ) ) ) ) j j # j Perc. # í î Vl. Vl. esress. 1 O O O Ȯ layers (c srd) 1 O j O O j j esress # Oj O Ȯ Ȯ O Or j O O r O O O j s s Oj O j j j j O #. desk, iside. desk, utside s O O í 0 #

34 Cl. Perc. 22 j # H. Vl. Vl. Perc. H. ). desk (c srd) 229 m 22 m m m m m 22 Glckesiel, ed. desk (c srd) Ȯ O m Oj Oj O Oj Oj O m m m m (. desk, utside, c srd). desk (c srd) IV. desk (c srd) # j O O j O O O # O j O s s m (. desk, iside, c srd) j O O # # O r O j m quasi gl. j j. desk (c srd) j. desk (c srd). desk (c srd) j. desk (c srd) Or Or O j j O m m *. desk (c srd) *. desk (c srd) m m m m # r j # # # # #R # # # # # # # R R R R R j. desk Or # # r O Ȯ m *I tere is t desk, te st desk lays. **I tere is t desk, te st desk lays. r j # r j j # # # #R # # # # # # # # # # R R R R R # Y P. # Vl. Vl. Fl.. desk. desk (c srd). desk O m Oj Oj O Oj Oj O O j Oj O m m m m m m. desk. desk. desk. desk. desk. desk. desk # # O r O j j O Or m m O r j O j O Or ## O r O j j m m m O Or m Or Ȯ m 2 a, lay a, sig it istrumet. desk. desk m legat. desk. desk j # j j ) ) ) Cl. a, lay a, sig it istrumet j j # m legat ) ) ) j j H. P. í # # í î # # # gradually sl d (i time) ì Y Y Y Y gradually sl d (i time) m Vl. Vl.. desk (c srd) esress. #. desk (c srd) j O O O j # O Oj Ȯ esress.. desk (c srd) esress. #. desk (c srd) O j O # O j O Oj esress.

35 Cl F H. gl. # H. Vl. Vl. H. 2 (. desk, c srd) # O j O # j esress. a 22 (. desk, c srd) O j O O j # O Oj Ȯ # O esress. # j O Ȯ Oj O O j # O esress. a (. desk, c srd) sl, sig it a sud le at te ack te sudard (. desk, c srd). desk (c srd) ) ) #) lay j m ) ) #). desk (c srd). desk (c srd) sim. Vl. Vl.. desk, utside (c srd) # O j O esress.. desk, utside (c srd). desk, utside (c srd) Oj O # O j O ~ esress. esress. O j O # j esress. esress. ~ # esress.. desk, utside (c srd) esress. *. desk, utside (c srd) *. desk, utside (c srd) * desk, utside (c srd) *I desk des t exist, te last desk, utside layer i eac resective secti lays. 20 H. a a 27 ) ) #) ) ) #) ) ) #) ) H. a a H. 2 ) U #) #) ) ) a

Saad Haddad T A K H T. for sinfonietta. Full Score --DIB PRESS-

Saad Haddad T A K H T. for sinfonietta. Full Score --DIB PRESS- Saad Haddad T A K H T r sinnietta Full Scre DI PRESS.saadnaddad.cm INSTRUMENTATION Flute Obe Clarinet in lat (ass Clarinet in lat) assn Hrn in F Trumet in E lat ass Trmbne Tuba Percussin [ctave marimba,

More information

Saad Haddad T A K H T. for full orchestra. Full Score. -DIB PRESSwww.saadnhaddad.com

Saad Haddad T A K H T. for full orchestra. Full Score. -DIB PRESSwww.saadnhaddad.com Saad Haddad T A K H T r ull rchestra Full Scre DI PRESS.saadnhaddad.cm Saad Haddad T A K H T r ull rchestra Full Scre DI PRESS.saadnhaddad.cm INSTRUMENTATION Flutes ( nd Flute dubles Alt Flute, rd Flute

More information

MUSIC FOR A STARRY NIGHT

MUSIC FOR A STARRY NIGHT MUSIC FR A STARRY NIGHT fr strigs, percussi ad pia L Tigcheug 201 First Perfrmace: Vili: Fia Kuriawati, Sa Wi Htike, Tim Che, Patricia Erika Pladr Vila: Karlie Vik Hegge, Victr Williams, ared Ya, Kiera

More information

/ -1-1, The Vanishing Dark

/ -1-1, The Vanishing Dark -1-1, The Vaishig Dark A77DC :C7ACBBAC27 0AA7DBB2 CABB7CA7B ACC:A0B BDA ,DWVVJGYTM KUKPURKTGFDVJGRFECUVGRKUFGHVJGUCOGPCOGHTOVJG RFECUVUGTKGUJKUYTMKUCPGRNTCVKPH VJGNUUHPCVWTCNFCTMPGUUWTFKOKPKUJKPIEOHTVYKVJVJGFCTMCPFWTHCNUGUGPUGHUGEWTKVYKVJCTVKHKEKCNNKIJV

More information

Anders Hultqvist. Entropic Pleasures. [Delineations (a), version one]

Anders Hultqvist. Entropic Pleasures. [Delineations (a), version one] Aders Hultqvist Etropic Pleasures [Delieatios (a), versio oe] Commissioed y Es MimitauLevade MusikKulturrådet 01 Aders Hultqvist Etropic Pleasures [Delieatios (a), versio oe] Istrumetatio: FlutePiccAlto

More information

Unfinished Bridge. String Quartet For Mivos / 2018 (revised) Duration: 10 Peter Kramer

Unfinished Bridge. String Quartet For Mivos / 2018 (revised) Duration: 10 Peter Kramer Unfinished ridge String Quartet Fr Mivs - - 2012 / 2018 (revised) Duratin: 10 Peter Kramer PROGRAM NOTE Unfinished ridge was cmsed during the winter and sring f 2012 and was revised during the winter f

More information

for Soprano, Tenor, and Orchestra Orchestration by Brian K. Shepard

for Soprano, Tenor, and Orchestra Orchestration by Brian K. Shepard ELEHANT LOVE MEDLEY or Sorao Teor ad Orchestra Orchestratio y Bria K. ard ELEHANT LOVE MEDLEY All You Need is Love Words ad Music y oh Leo ad aul McCartey Coyright 1967 Norther Sogs. I Was Made or Lovi

More information

Preview Only. Legal Use Requires Purchase. Recorda me. JOE HENDERSON Arranged by KRIS BERG INSTRUMENTATION

Preview Only. Legal Use Requires Purchase. Recorda me. JOE HENDERSON Arranged by KRIS BERG INSTRUMENTATION Recorda me 1st E Alto Saxohone 2nd E Alto Saxohone 1st B Tenor Saxohone 2nd B Tenor Saxohone E Baritone Saxohone 1st B Trumet 2nd B Trumet rd B Trumet th B Trumet JOE HENDERSON Arranged y RIS BERG INSTRUMENTATION

More information

Christopher Cerrone. Invisible Overture for small orchestra (2008) Version correct as of: 03/07/2013. Outburst-Inburst Musics s k Brooklyn, NY k

Christopher Cerrone. Invisible Overture for small orchestra (2008) Version correct as of: 03/07/2013. Outburst-Inburst Musics s k Brooklyn, NY k Chisthe Cene Invisible vetue small chesta (2008) Vesin cect as : 0/0/201 utbustinbust Musics s k klyn, NY k CHESTA 2 lutes ( = iccl) 1 be 1 c anglais ( = be 2) 2 clainets in lat ( = bass clainet in lat)

More information

The Shores of Light. for orchestra. Kevin Lau. Duration: 12 minutes Score in C

The Shores of Light. for orchestra. Kevin Lau. Duration: 12 minutes Score in C The Shores o Light or orchestra by Kevi Lau Duratio: 12 miutes Score i C A thesis submitted i coormity with the requiremets or the degree o Doctor o Musical Arts i Comositio Faculty o Music Uiversity o

More information

Where the I Comes From. Ursula Kwong-Brown

Where the I Comes From. Ursula Kwong-Brown Where the I Comes From y Ursula Kongron A dissertation sumitted in artial satisaction o the requirements or the degree o Doctor o Philosohy in Music and the Designated Emhasis in Ne Media in the Graduate

More information

Conjoined. For Two Double Basses. Music by Martin Ritter 2016/17

Conjoined. For Two Double Basses. Music by Martin Ritter 2016/17 Cnjined r Tw Duble Basses Music by Martin Ritter 2016/17 Legend: The tw layers shuld always errm asynchrnusly unless the arts are cnnected by a dtted line r ntes are stemmed acrss bth arts. In these situatins

More information

STEVEN BRYANT. In This Broad Earth

STEVEN BRYANT. In This Broad Earth STEVEN BRYANT In This Broad Earth STEVEN BRYANT In This Broad Earth Written or and dedicated to Kevin Sedatole and the Michigan State University Wind Symhony lute I-II-III (doules Picc)* Ooe I-II Bassoon

More information

A L A BA M A L A W R E V IE W

A L A BA M A L A W R E V IE W A L A BA M A L A W R E V IE W Volume 52 Fall 2000 Number 1 B E F O R E D I S A B I L I T Y C I V I L R I G HT S : C I V I L W A R P E N S I O N S A N D TH E P O L I T I C S O F D I S A B I L I T Y I N

More information

Math 31A Discussion Notes Week 4 October 20 and October 22, 2015

Math 31A Discussion Notes Week 4 October 20 and October 22, 2015 Mat 3A Discussion Notes Week 4 October 20 and October 22, 205 To prepare for te first midterm, we ll spend tis week working eamples resembling te various problems you ve seen so far tis term. In tese notes

More information

CONCERTO for Baritone Saxophone, Small Orchestra, and DJ

CONCERTO for Baritone Saxophone, Small Orchestra, and DJ oseh R OZICH CONCERTO or aritoe Saxohoe, Small Orchestra, ad D INSTRMENTATION Flutes (1st doules Picc) Clariet Alto Saxohoe (doules Sorao) Solo aritoe Saxohoe F Hor Trumet Tromoe Percussio I: Wid Chimes,

More information

Yevgeniy Sharlat. Composed for Fifty for the Future: The Kronos Learning Repertoire

Yevgeniy Sharlat. Composed for Fifty for the Future: The Kronos Learning Repertoire SCORE Yevgeiy Sharlat ecil sketch (017) Comosed or Fity or the Future: The Kroos Learig Reertoire Please hel sread the ord aout Kroos Fity or the Future roject y icludig the credit elo alog ith the title

More information

Turbulent entry length. 7.3 Turbulent pipe flow. Turbulent entry length. Illustrative experiment. The Reynolds analogy and heat transfer

Turbulent entry length. 7.3 Turbulent pipe flow. Turbulent entry length. Illustrative experiment. The Reynolds analogy and heat transfer Turulet etry legt 7.3 Turulet ie l Etry legts x e ad x et are geerally srter turulet l ta lamar l Termal etry legts, x et /, r a case it q cst imsed a ydrdyamically ully develed l 7.3 Turulet ie l ill

More information

STRING ORCHESTRA INTERMEDIATE LEVEL. From the Broadway Show. Chitty Chitty Bang Bang. Preview Only. Featuring Chitty Chitty Bang Bang,

STRING ORCHESTRA INTERMEDIATE LEVEL. From the Broadway Show. Chitty Chitty Bang Bang. Preview Only. Featuring Chitty Chitty Bang Bang, STRN ORHESTRA NTERMEATE LEVEL rom the roaday Sho hitty hitty ag ag eaturig hitty hitty ag ag, chu-chi ace, You To ad Me Ol am-oo y Richard M Sherma ad Robert Sherma Arraged by victor lopez NSTRUMENTATON

More information

KACHISORY - The Cry of Magpies -

KACHISORY - The Cry of Magpies - KACHISORY The Cry o Magies or Orchestra by Hyukjin Shin A comosition submitted in artial ulillment o the requirements or the degree o Doctor o Musical Arts Music: Comosition in The University o Michigan

More information

Preview Only. Nikolai Rimsky-Korsakov Arranged by Richard Meyer (ASCAP) Tambourine) 8 Violin II A DIVISION OF

Preview Only. Nikolai Rimsky-Korsakov Arranged by Richard Meyer (ASCAP) Tambourine) 8 Violin II A DIVISION OF THE HGHLAND/ETLNG RT HLHARMONC ERE Grade Level: 2 Themes rom heherazade Nikolai Rimsky-Korsakov Arranged y Rihard Meyer (ACA) 1 Condutor ore 1 lute 1 Ooe 1 assoon 1 Clarinet 1 Clarinet 1 E Alto axohone

More information

Five Loons LLC No Erik Ferguson PERSPECTIVES OF A MAN SONG CYCLE FOR TENOR & FLUTE. Text by Stephen Crane. Complete Score.

Five Loons LLC No Erik Ferguson PERSPECTIVES OF A MAN SONG CYCLE FOR TENOR & FLUTE. Text by Stephen Crane. Complete Score. ive Loons LLC No. 102 Erik erguson ERSECTIVES O A MAN SONG CYCLE OR TENOR LUTE Text by Stehen Crane Comlete Score Comosed 2016 Erik erguson ERSECTIVES O A MAN SONG CYCLE OR TENOR LUTE Comosed 2015-2016

More information

Five Loons LLC No Erik Ferguson. And he was FOR MIXED CHAMBER ENSEMBLE & NARRATOR. Text by Edwin Arlington Robinson.

Five Loons LLC No Erik Ferguson. And he was FOR MIXED CHAMBER ENSEMBLE & NARRATOR. Text by Edwin Arlington Robinson. ive Loons LLC No. 101 Erik erguson And he as OR MIXED CHAMBER ENSEMBLE NARRATOR Text by Edin Arlington Robinson Score arts Comosed 2012, Revised 201 Erik erguson And he as OR MIXED CHAMBER ENSEMBLE NARRATOR

More information

Pipe Networks - Hardy Cross Method Page 1. Pipe Networks

Pipe Networks - Hardy Cross Method Page 1. Pipe Networks Pie Netwrks - Hardy Crss etd Page Pie Netwrks Itrducti A ie etwrk is a itercected set f ies likig e r mre surces t e r mre demad (delivery) its, ad ca ivlve ay umber f ies i series, bracig ies, ad arallel

More information

Continuity and Differentiability Worksheet

Continuity and Differentiability Worksheet Continuity and Differentiability Workseet (Be sure tat you can also do te grapical eercises from te tet- Tese were not included below! Typical problems are like problems -3, p. 6; -3, p. 7; 33-34, p. 7;

More information

JOHN GIBSON. Blue Traces

JOHN GIBSON. Blue Traces AMERICAN COMOSERS EDITION JOHN GISON lue Traces fr ian, cmuter, and string rchestra 2009 American Cmsers Alliance (MI).cmsers.cm inf@cmsers.cm erfrmance Ntes Accidentals aect the ntes they immediately

More information

David Dzubay. Kukulkan (2006) Violin, Horn, Piano

David Dzubay. Kukulkan (2006) Violin, Horn, Piano Daid Dzuay Kukulka (00) Violi Hor iao Kukulka (001 re 00) I II III IV V VI Kukulka s Ascet (El Castillo March equiox) Water Ru (roae Well) Celestial Determiatio (El Caracol) rocessioaloerig (Sacred Well)

More information

Galileo s Vision. Preview Only RALPH FORD (ASCAP) INSTRUMENTATION

Galileo s Vision. Preview Only RALPH FORD (ASCAP) INSTRUMENTATION ntermediate String/ull ORCHESTRA Grade ½ Galileo s Vision 1 Conductor 2 lute 2 Oboe 1 1st b Clarinet 1 2nd b Clarinet 1 b ass Clarinet 2 assoon Horn RALH ORD (ASCA) NSTRUMENTATON 1 1st b Trumet 1 2nd b

More information

Music Diary. for soprano, flute, clarinet, violin, and percussion

Music Diary. for soprano, flute, clarinet, violin, and percussion Music Diary or sorano, lute, clarinet, violin, and ercussion LI Qi 201 Program Notes This is a iece or entertainment Have some un! :) Movements 1 Gossi!!! Girls always love gossi!!! Gossi always loves

More information

DIVINE SERVICE: A LUTHERAN MASS FOR MIXED CHORUS, CHAMBER ORCHESTRA AND ORGAN. Copyright 2014 David von Kampen

DIVINE SERVICE: A LUTHERAN MASS FOR MIXED CHORUS, CHAMBER ORCHESTRA AND ORGAN. Copyright 2014 David von Kampen DIVINE SERVICE: A LTHERAN MASS OR MIXED CHORS, CHAMER ORCHESTRA AND ORGAN Y Coyright 201 David von Kamen Sumitted to the graduate degree rogram in the School o Music and the Graduate aculty o the niversity

More information

2011 Fermat Contest (Grade 11)

2011 Fermat Contest (Grade 11) Te CENTRE for EDUCATION in MATHEMATICS and COMPUTING 011 Fermat Contest (Grade 11) Tursday, February 4, 011 Solutions 010 Centre for Education in Matematics and Computing 011 Fermat Contest Solutions Page

More information

A Candle in the Dark - Concerto for Clarinet and Wind Ensemble

A Candle in the Dark - Concerto for Clarinet and Wind Ensemble Sa ose State Uiversity SSU ScholarWorks Master's Theses Master's Theses ad Graduate Research Srig 01 A Cadle i the Dark Cocerto or Clariet ad Wid Esemble aso Gary McChristia Sa ose State Uiversity Follo

More information

BOUND FOR SOUTH AUSTRALIA

BOUND FOR SOUTH AUSTRALIA FULL SCOE $3.50 BUNDLED VESION BOUND FO SOUTH AUSTALIA or 3-5 oct. hadbells Traditioal sea shaty arr. Alex Guebert (2015) 2015 Alex Guebert. Distributed by The Golde Dace..HadbellMusic.com This ull score

More information

Tangent Lines-1. Tangent Lines

Tangent Lines-1. Tangent Lines Tangent Lines- Tangent Lines In geometry, te tangent line to a circle wit centre O at a point A on te circle is defined to be te perpendicular line at A to te line OA. Te tangent lines ave te special property

More information

THREE LONDON MINIATURES

THREE LONDON MINIATURES THREE LONDON MINIATRES or ad I Westmister Hym (:00) II or Eglad s Rose (:0) III Kesigto March (:00) y Mark Camhouse Commissioed y Regia B Stott or The Woodard Academy Bads (College ark Georgia) Marguerite

More information

Excerpt from "Calculus" 2013 AoPS Inc.

Excerpt from Calculus 2013 AoPS Inc. Excerpt from "Calculus" 03 AoPS Inc. Te term related rates refers to two quantities tat are dependent on eac oter and tat are canging over time. We can use te dependent relationsip between te quantities

More information

OH BOY! Story. N a r r a t iv e a n d o bj e c t s th ea t e r Fo r a l l a g e s, fr o m th e a ge of 9

OH BOY! Story. N a r r a t iv e a n d o bj e c t s th ea t e r Fo r a l l a g e s, fr o m th e a ge of 9 OH BOY! O h Boy!, was or igin a lly cr eat ed in F r en ch an d was a m a jor s u cc ess on t h e Fr en ch st a ge f or young au di enc es. It h a s b een s een by ap pr ox i ma t ely 175,000 sp ect at

More information

Preview Only. Legal Use Requires Purchase. Too Close for Comfort JAZZ

Preview Only. Legal Use Requires Purchase. Too Close for Comfort JAZZ Too Close or Comort Words and Music y JERRY BOC, LARRY HOLOCENER and GEORGE DAVID WEISS Arranged y GORDON GOODWIN Conductor Solo 1st E Alto Saxohone 2nd E Alto Saxohone 1st B Tenor Saxohone 2nd B Tenor

More information

MADE IN CHINA, MADE IN CALIFORNIA

MADE IN CHINA, MADE IN CALIFORNIA MADE IN CHINA, MADE IN CALIFORNIA or clarinet in b-lat, sorano saxohone, ercussion, viola, and contrabass Carolyn Chen 201 MADE IN CHINA, MADE IN CALIFORNIA Commissioned by Now Hear Ensemble Notes I was

More information

Ilari Kaila. Taonta. for piano

Ilari Kaila. Taonta. for piano 87 Ilari Kaila Taonta for iano 016 Coyright y the Comoser All Rights Reserved No art of this ulication may e coied or reroduced in any form or y any means ithout the rior ermission of the comoser Distriution:

More information

Math 151 Project 1 (60 points) Due Thursday 20 th September

Math 151 Project 1 (60 points) Due Thursday 20 th September Mat 151 Project 1 (60 points) Due Tursday 0 t September Students Name: Tis Project is to elp you to review some of te concepts from Precalc I and II tat you will use in tis class. Tese questions need to

More information

A Shrinking Emptiness/ Entropic Pleasures III

A Shrinking Emptiness/ Entropic Pleasures III Anders Hultqvist A Shrinking Etiness Entropic Pleasures III [Delineations (a), Version three] Commissioned y Ens MimitauLevande MusikKulturrådet 01 (Version 01, Version III 018) Anders Hultqvist A Shrinking

More information

Click here to see an animation of the derivative

Click here to see an animation of the derivative Differentiation Massoud Malek Derivative Te concept of derivative is at te core of Calculus; It is a very powerful tool for understanding te beavior of matematical functions. It allows us to optimize functions,

More information

What is Uniform flow (normal flow)? Uniform flow means that depth (and velocity) remain constant over a certain reach of the channel.

What is Uniform flow (normal flow)? Uniform flow means that depth (and velocity) remain constant over a certain reach of the channel. Hydraulic Lecture # CWR 4 age () Lecture # Outlie: Uiform flow i rectagular cael (age 7-7) Review for tet Aoucemet: Wat i Uiform flow (ormal flow)? Uiform flow mea tat det (ad velocity) remai cotat over

More information

Chapter 12 Sound Waves

Chapter 12 Sound Waves Chapter 2 Soud Waves We study the properties ad detectio o a particular type o wave soud waves. A speaker geerates soud. The desity o the air chages as the wave propagates. The rage o requecies that ca

More information

composed Composers Course Palendriai 2015 of accordion works

composed Composers Course Palendriai 2015 of accordion works cmsed at the Iteratial Cmsers Curse Paledriai 01 The Cllecti accrdi rks Pulished y Šeimyiškių str 1 Vilius, 091 Lithuaia accakademialt i@accakademialt Chie Editr: Martyas Levickis Editrs: Vadim Vystavki,

More information

stephen lewis horas non numero nisi serenas for female voice, violin, and cello (2011)

stephen lewis horas non numero nisi serenas for female voice, violin, and cello (2011) stehen leis hras nn numer nisi serenas r emale vice, vilin, and cell (2011) hras nn numer nisi serenas is a cmmn inscritin n sundials It etically translates t I cunt n hurs but r thse that are serene,

More information

This work was commissioned by and dedicated to the Ventoso Winds, at the request of their clarinetist, Sara Stolt.

This work was commissioned by and dedicated to the Ventoso Winds, at the request of their clarinetist, Sara Stolt. FOREST BAGATELLES are a set o seven short movements or woodwind quintet reresenting various orest climates coosed in art because o the woodlike qualities o the ensemble The movements are tied together

More information

This PDF contains excerpts from the score. For the complete score, please contact the composer directly at

This PDF contains excerpts from the score. For the complete score, please contact the composer directly at This PDF cntains excerts rm the scre Fr the cmlete scre, lease cntact the cmser directly at wwwmark-ardencm Diese PDF enthält Auszüge aus der Partitur Für die vllständige Partitur, itte kntaktieren Sie

More information

golden jubilee MARCH Preview Only JOHN PHILIP SOUSA INSTRUMENTATION

golden jubilee MARCH Preview Only JOHN PHILIP SOUSA INSTRUMENTATION ennell edition Marches golden uilee MARCH Conductor C Piccolo st C lute nd C lute st Ooe nd Ooe E Clarinet st B Clarinet nd B Clarinet rd B Clarinet E Alto Clarinet B Bass Clarinet st Bassoon nd Bassoon

More information

Preview Only. Richard Meyer (ASCAP) notes the conductor A DIVISION OF

Preview Only. Richard Meyer (ASCAP) notes the conductor A DIVISION OF (Correlates ith String Exlorer ook 1 nit 12) Grade Level: 1½ Once on a Time Signature Richard Meyer (ASCA) n s t r u m e n tat i o n Conductor Score... 1 Violin... 8 Violin... 8 Viola... 5 Violin (Viola

More information

Symphony for Percussion Ensemble

Symphony for Percussion Ensemble Symhony or ercussion Ensemble or our ercussionists (and an otional electronics art), in our movements By Aidan Gold I: Landscaes II: A Dance III: A Dream IV: A Song 2016 Aidan Gold Instrumentation and

More information

Nina (For Solo Violin, Viola, Cello or String Bass and String Orchestra) Preview Only. GIOVANNI BATTESTA PERGOLESI Arranged by DAVID REED

Nina (For Solo Violin, Viola, Cello or String Bass and String Orchestra) Preview Only. GIOVANNI BATTESTA PERGOLESI Arranged by DAVID REED CONCERT STRNG ORCHESTRA Grade ½ Nina (r Sl Vilin Vila Cell r String ass and String Orchestra) GOVANN ATTESTA ERGOLES Arranged by DAVD REED NSTRUMENTATON Cnductr Sl Vilin Sl Vila Sl Cell Sl String ass 8

More information

Essential Microeconomics EXISTENCE OF EQUILIBRIUM Core ideas: continuity of excess demand functions, Fixed point theorems

Essential Microeconomics EXISTENCE OF EQUILIBRIUM Core ideas: continuity of excess demand functions, Fixed point theorems Essetial Microecoomics -- 5.3 EXISTENCE OF EQUILIBRIUM Core ideas: cotiuity of excess demad fuctios, Fixed oit teorems Two commodity excage ecoomy 2 Excage ecoomy wit may commodities 5 Discotiuous demad

More information

REVIEW LAB ANSWER KEY

REVIEW LAB ANSWER KEY REVIEW LAB ANSWER KEY. Witout using SN, find te derivative of eac of te following (you do not need to simplify your answers): a. f x 3x 3 5x x 6 f x 3 3x 5 x 0 b. g x 4 x x x notice te trick ere! x x g

More information

MAT 1275: Introduction to Mathematical Analysis

MAT 1275: Introduction to Mathematical Analysis 1 MT 1275: Intrdutin t Mtemtil nlysis Dr Rzenlyum Slving Olique Tringles Lw f Sines Olique tringles tringles tt re nt neessry rigt tringles We re ging t slve tem It mens t find its si elements sides nd

More information

Olli Virtaperko Usvapatsas

Olli Virtaperko Usvapatsas Olli Virtaerko Usvaatsas or symhony orchestra ull score, transosed duration 1'0'' T e o s t o M u s i c i n l a n d Coyright by the Comoser No art o this ublication may be coied or reroduced in any orm

More information

PERUSAL SCORE - NOT FOR PERFORMANCE USE P A U L D O O L E Y M A S K S A N D M A C H I N E S FOR WIND ENSEMBLE (2015) PAUL DOOLEY MUSIC

PERUSAL SCORE - NOT FOR PERFORMANCE USE P A U L D O O L E Y M A S K S A N D M A C H I N E S FOR WIND ENSEMBLE (2015) PAUL DOOLEY MUSIC P A L D O O L E Y M A S K S A N D M A C H I N E S FOR WIND ENSEMBLE (01) PAL DOOLEY MSIC Winner o the 01 Sousa / American Bandmasters Association / Ostald Aard Winner o the 01 National Band Association

More information

I N A C O M P L E X W O R L D

I N A C O M P L E X W O R L D IS L A M I C E C O N O M I C S I N A C O M P L E X W O R L D E x p l o r a t i o n s i n A g-b eanste d S i m u l a t i o n S a m i A l-s u w a i l e m 1 4 2 9 H 2 0 0 8 I s l a m i c D e v e l o p m e

More information

. Compute the following limits.

. Compute the following limits. Today: Tangent Lines and te Derivative at a Point Warmup:. Let f(x) =x. Compute te following limits. f( + ) f() (a) lim f( +) f( ) (b) lim. Let g(x) = x. Compute te following limits. g(3 + ) g(3) (a) lim

More information

Lecture 7 Testing Nonlinear Inequality Restrictions 1

Lecture 7 Testing Nonlinear Inequality Restrictions 1 Eco 75 Lecture 7 Testig Noliear Iequality Restrictios I Lecture 6, we discussed te testig problems were te ull ypotesis is de ed by oliear equality restrictios: H : ( ) = versus H : ( ) 6= : () We sowed

More information

MATHEMATICS 9740/01 Paper 1 14 Sep hours

MATHEMATICS 9740/01 Paper 1 14 Sep hours Cadidate Name: Class: JC PRELIMINARY EXAM Higher MATHEMATICS 9740/0 Paper 4 Sep 06 3 hurs Additial Materials: Cver page Aswer papers List f Frmulae (MF5) READ THESE INSTRUCTIONS FIRST Write yur full ame

More information

c. What is the average rate of change of f on the interval [, ]? Answer: d. What is a local minimum value of f? Answer: 5 e. On what interval(s) is f

c. What is the average rate of change of f on the interval [, ]? Answer: d. What is a local minimum value of f? Answer: 5 e. On what interval(s) is f Essential Skills Chapter f ( x + h) f ( x ). Simplifying the difference quotient Section. h f ( x + h) f ( x ) Example: For f ( x) = 4x 4 x, find and simplify completely. h Answer: 4 8x 4 h. Finding the

More information

on the deconstruction of a cycle for 2 pianists and 2 percussion players Alberto C. Bernal

on the deconstruction of a cycle for 2 pianists and 2 percussion players Alberto C. Bernal on the deconstruction o a cycle or 2 ianists and 2 ercussion layers Alberto C. Bernal PERFORMANCE NOTES General: The dynamic indications between hooks reer to the intention dynamic, that can be dierent

More information

BEIJING IMPRESSIONS -

BEIJING IMPRESSIONS - ENG MRESSONS - A TRAVEL TRTYCH (mage Music XV) r Chamer Orchesra GREG A STENKE Scre Mvemens: rlgue - Arrival Summer alace - O Crridrs, Lake, and Marle a Sree Dance - On he S a Dusk ridden Ciy - O Curyards,

More information

The total error in numerical differentiation

The total error in numerical differentiation AMS 147 Computational Metods and Applications Lecture 08 Copyrigt by Hongyun Wang, UCSC Recap: Loss of accuracy due to numerical cancellation A B 3, 3 ~10 16 In calculating te difference between A and

More information

Preview Only W PREVIEW PREVIEW PREVIEW PREVIEW EW PREVIEW PREVIEW PREVIE REVIEW PREVIEW EVIEW PREVIEW PREVIEW PREV ALREADY HOME.

Preview Only W PREVIEW PREVIEW PREVIEW PREVIEW EW PREVIEW PREVIEW PREVIE REVIEW PREVIEW EVIEW PREVIEW PREVIEW PREV ALREADY HOME. 2 Arraged y JAY ALTHOUSE SOPRANO I SOPRANO II C C ALTO PIANO 5 ALREADY HOME for S.S.A. voices ad piao ith optioal SoudTrax CD* Music y ANDREW LLOYD WEBBER Lyrics y TIM RICE Moderately slo (h = ca.72),

More information

Score. Aubrie Powell. aɪ Kænt Spiːk. For Violin, Cello, and Piano

Score. Aubrie Powell. aɪ Kænt Spiːk. For Violin, Cello, and Piano Scre Aubrie Pwell aɪ Kænt Siːk Fr Vilin, Cell, and Pian Prgram Ntes Prnunced I can t seak in the Internatinal Phnetic Alhabet, the cncet this iece is drawn rm the act that instruments cannt seak This is

More information

For the Plymouth Choir, with gratitude to Susan Stuart. Will You Come and Follow Me The Summons. SATB and Piano, with opt.

For the Plymouth Choir, with gratitude to Susan Stuart. Will You Come and Follow Me The Summons. SATB and Piano, with opt. or lymouth Choir with gratitude to Susan Stuart Will You Come ollow Me The Summons SATB iano with ot Congregation John L Bell Graham Maule Sorano Alto Tenor Bass iano 8 hî = 56 nis Come hî = 56 u Come

More information

Calculus I Homework: The Derivative as a Function Page 1

Calculus I Homework: The Derivative as a Function Page 1 Calculus I Homework: Te Derivative as a Function Page 1 Example (2.9.16) Make a careful sketc of te grap of f(x) = sin x and below it sketc te grap of f (x). Try to guess te formula of f (x) from its grap.

More information

Quantum Theory of the Atomic Nucleus

Quantum Theory of the Atomic Nucleus G. Gamow, ZP, 51, 204 1928 Quantum Teory of te tomic Nucleus G. Gamow (Received 1928) It as often been suggested tat non Coulomb attractive forces play a very important role inside atomic nuclei. We can

More information

Chapter 1 Functions and Graphs. Section 1.5 = = = 4. Check Point Exercises The slope of the line y = 3x+ 1 is 3.

Chapter 1 Functions and Graphs. Section 1.5 = = = 4. Check Point Exercises The slope of the line y = 3x+ 1 is 3. Capter Functions and Graps Section. Ceck Point Exercises. Te slope of te line y x+ is. y y m( x x y ( x ( y ( x+ point-slope y x+ 6 y x+ slope-intercept. a. Write te equation in slope-intercept form: x+

More information

Foremost In Marching And Concert Percussion Literature P.O. Box Nashville, TN FAX

Foremost In Marching And Concert Percussion Literature P.O. Box Nashville, TN FAX oremost I Marchig Ad Cocert ercussio Literature O Box 292671 Nashville, TN 37229 1-800-62-8001 AX 1-615-885-0370 wwwrowlocom Dark light by James Campbell Advaced - 5:18-12 layers Istrumetatio Bells, Xylo,

More information

ANSWER KEY WITH SOLUTION PAPER - 2 MATHEMATICS SECTION A 1. B 2. B 3. D 4. C 5. B 6. C 7. C 8. B 9. B 10. D 11. C 12. C 13. A 14. B 15.

ANSWER KEY WITH SOLUTION PAPER - 2 MATHEMATICS SECTION A 1. B 2. B 3. D 4. C 5. B 6. C 7. C 8. B 9. B 10. D 11. C 12. C 13. A 14. B 15. TARGET IIT-JEE t [ACCELERATION] V0 to V BATCH ADVANCED TEST DATE : - 09-06 ANSWER KEY WITH SOLUTION PAPER - MATHEMATICS SECTION A. B. B. D. C 5. B 6. C 7. C 8. B 9. B 0. D. C. C. A. B 5. C 6. D 7. A 8.

More information

Precalculus Test 2 Practice Questions Page 1. Note: You can expect other types of questions on the test than the ones presented here!

Precalculus Test 2 Practice Questions Page 1. Note: You can expect other types of questions on the test than the ones presented here! Precalculus Test 2 Practice Questions Page Note: You can expect oter types of questions on te test tan te ones presented ere! Questions Example. Find te vertex of te quadratic f(x) = 4x 2 x. Example 2.

More information

Preface. Here are a couple of warnings to my students who may be here to get a copy of what happened on a day that you missed.

Preface. Here are a couple of warnings to my students who may be here to get a copy of what happened on a day that you missed. Preface Here are my online notes for my course tat I teac ere at Lamar University. Despite te fact tat tese are my class notes, tey sould be accessible to anyone wanting to learn or needing a refreser

More information

Preview Only W PREVIEW PREVIEW PREVIEW PREVIEW EW PREVIEW PREVIEW PREVIE REVIEW PREVIEW EVIEW PREVIEW PREVIEW PREV ALREADY HOME. &b b b b C.

Preview Only W PREVIEW PREVIEW PREVIEW PREVIEW EW PREVIEW PREVIEW PREVIE REVIEW PREVIEW EVIEW PREVIEW PREVIEW PREV ALREADY HOME. &b b b b C. 2 Arraged y JAY ALTHOUSE SOPRANO ALTO TENOR BASS PIANO 5 C C ALREADY HOME for S.A.T.B. voices ad piao ith optioal SoudTrax CD* Music y ANDREW LLOYD WEBBER Lyrics y TIM RICE Moderately slo (h = ca.72),

More information

1. Introduction. 2. Numerical Methods

1. Introduction. 2. Numerical Methods America Joural o Computatioal ad Applied Matematics, (5: 9- DOI:.59/j.ajcam.5. A Stud o Numerical Solutios o Secod Order Iitial Value Problems (IVP or Ordiar Dieretial Equatios wit Fourt Order ad Butcer

More information

Ludic Suite: for Orchestra

Ludic Suite: for Orchestra Wester Washigto iversity Wester CEDAR WW Graduate School Collectio WW Graduate ad dergraduate Scholarshi Srig 01 Ludic Suite: or Orchestra o R ash Wester Washigto iversity, oashmusic@gmailcom Follo this

More information

y = 3 2 x 3. The slope of this line is 3 and its y-intercept is (0, 3). For every two units to the right, the line rises three units vertically.

y = 3 2 x 3. The slope of this line is 3 and its y-intercept is (0, 3). For every two units to the right, the line rises three units vertically. Mat 2 - Calculus for Management and Social Science. Understanding te basics of lines in te -plane is crucial to te stud of calculus. Notes Recall tat te and -intercepts of a line are were te line meets

More information

Optimal Estimator for a Sample Set with Response Error. Ed Stanek

Optimal Estimator for a Sample Set with Response Error. Ed Stanek Optial Estiator for a Saple Set wit Respose Error Ed Staek Itroductio We develop a optial estiator siilar to te FP estiator wit respose error tat was cosidered i c08ed63doc Te first 6 pages of tis docuet

More information

5.1 We will begin this section with the definition of a rational expression. We

5.1 We will begin this section with the definition of a rational expression. We Basic Properties and Reducing to Lowest Terms 5.1 We will begin tis section wit te definition of a rational epression. We will ten state te two basic properties associated wit rational epressions and go

More information

Fantasia on KANG DING LOVE SONG

Fantasia on KANG DING LOVE SONG antasia on KANG DING LOVE SONG ERIC RICHARDS 2008 (BMI) Written or the Shanghai Conservatory o Music azz Ensemle Zhang, Xiaolu - director Dr Gene Aitken - guest conductor Octoer 2008 INSTRMENTATION Solo

More information

Physics Teach Yourself Series Topic 15: Wavelike nature of matter (Unit 4)

Physics Teach Yourself Series Topic 15: Wavelike nature of matter (Unit 4) Pysics Teac Yourself Series Topic 15: Wavelie nature of atter (Unit 4) A: Level 14, 474 Flinders Street Melbourne VIC 3000 T: 1300 134 518 W: tss.co.au E: info@tss.co.au TSSM 2017 Page 1 of 8 Contents

More information

& Ö IN 4> * o»'s S <«

& Ö IN 4> * o»'s S <« & Ö IN 4 0 8 i I *»'S S s H WD 'u H 0 0D fi S «a 922 6020866 Aessin Number: 690 Publiatin Date: Mar 28, 1991 Title: Briefing T mbassy Representatives n The Refused Strategi Defense Initiative Persnal Authr:

More information

Consider a function f we ll specify which assumptions we need to make about it in a minute. Let us reformulate the integral. 1 f(x) dx.

Consider a function f we ll specify which assumptions we need to make about it in a minute. Let us reformulate the integral. 1 f(x) dx. Capter 2 Integrals as sums and derivatives as differences We now switc to te simplest metods for integrating or differentiating a function from its function samples. A careful study of Taylor expansions

More information

Chapter 23. Geometric Optics

Chapter 23. Geometric Optics Cpter 23 Geometric Optic Ligt Wt i ligt? Wve or prticle? ot Geometric optic: ligt trvel i trigt-lie pt clled ry Ti i true if typicl ditce re muc lrger t te wvelegt Geometric Optic 2 Wt it i out eome ddreed

More information

INTRODUCTION AND MATHEMATICAL CONCEPTS

INTRODUCTION AND MATHEMATICAL CONCEPTS Capter 1 INTRODUCTION ND MTHEMTICL CONCEPTS PREVIEW Tis capter introduces you to te basic matematical tools for doing pysics. You will study units and converting between units, te trigonometric relationsips

More information

Physics 6C. Heisenberg Uncertainty Principle. Prepared by Vince Zaccone For Campus Learning Assistance Services at UCSB

Physics 6C. Heisenberg Uncertainty Principle. Prepared by Vince Zaccone For Campus Learning Assistance Services at UCSB Pyic 6C Heienberg Uncertainty Principle Heienberg Uncertainty Principle Baic Idea you can t get eact meaurement 2 Verion: E p t 2 2 Eample: For te electron in te previou eample, teir wavelengt wa 0.123nm.

More information

Errors Due to Misalignment of Strain Gages

Errors Due to Misalignment of Strain Gages VISHAY MICO-MEASUEMENTS Strai Gages ad Istrumets Errors Due to Misaligmet of Strai Gages Sigle Gage i a Uiform Biaxial Strai Field Whe a gage is boded to a test surface at a small agular error with resect

More information

Lab 6 Derivatives and Mutant Bacteria

Lab 6 Derivatives and Mutant Bacteria Lab 6 Derivatives and Mutant Bacteria Date: September 27, 20 Assignment Due Date: October 4, 20 Goal: In tis lab you will furter explore te concept of a derivative using R. You will use your knowledge

More information

PHYS-3301 Lecture 9. CHAPTER 5 Wave Properties of Matter and Quantum Mechanics I. 5.3: Electron Scattering. Bohr s Quantization Condition

PHYS-3301 Lecture 9. CHAPTER 5 Wave Properties of Matter and Quantum Mechanics I. 5.3: Electron Scattering. Bohr s Quantization Condition CHAPTER 5 Wave Properties of Matter ad Quatum Mecaics I PHYS-3301 Lecture 9 Sep. 5, 018 5.1 X-Ray Scatterig 5. De Broglie Waves 5.3 Electro Scatterig 5.4 Wave Motio 5.5 Waves or Particles? 5.6 Ucertaity

More information

lecture 26: Richardson extrapolation

lecture 26: Richardson extrapolation 43 lecture 26: Ricardson extrapolation 35 Ricardson extrapolation, Romberg integration Trougout numerical analysis, one encounters procedures tat apply some simple approximation (eg, linear interpolation)

More information

Chapter 4 The debroglie hypothesis

Chapter 4 The debroglie hypothesis Capter 4 Te debrglie yptesis In 194, te Frenc pysicist Luis de Brglie after lking deeply int te special tery f relatiity and ptn yptesis,suggested tat tere was a mre fundamental relatin between waes and

More information

Introduction to Three-phase Circuits. Balanced 3-phase systems Unbalanced 3-phase systems

Introduction to Three-phase Circuits. Balanced 3-phase systems Unbalanced 3-phase systems Intrductin t Three-hase Circuits Balanced 3-hase systems Unbalanced 3-hase systems 1 Intrductin t 3-hase systems Single-hase tw-wire system: Single surce cnnected t a lad using tw-wire system Single-hase

More information

Section 15.6 Directional Derivatives and the Gradient Vector

Section 15.6 Directional Derivatives and the Gradient Vector Section 15.6 Directional Derivatives and te Gradient Vector Finding rates of cange in different directions Recall tat wen we first started considering derivatives of functions of more tan one variable,

More information

Quantum Numbers and Rules

Quantum Numbers and Rules OpenStax-CNX module: m42614 1 Quantum Numbers and Rules OpenStax College Tis work is produced by OpenStax-CNX and licensed under te Creative Commons Attribution License 3.0 Abstract Dene quantum number.

More information

Taylor Series and the Mean Value Theorem of Derivatives

Taylor Series and the Mean Value Theorem of Derivatives 1 - Taylor Series and te Mean Value Teorem o Derivatives Te numerical solution o engineering and scientiic problems described by matematical models oten requires solving dierential equations. Dierential

More information

LUKE 2 The Christmas Story in Song

LUKE 2 The Christmas Story in Song LUKE 2 The Christmas Stry i Sg Usig the text f the Evagelical Heritage Versi (EHV) Aar Michael Jese The purpse f this musical arragemet f Lue 2 (EHV) is t assist childre i the trasiti frm ather traslati

More information