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Guide Kinesphere - E-flat Instruments

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What has been done: Developed an EyesWeb application connected to wireless smartphones, capable to segment movement into gestures, and to recognize individual gesture typologies, according to energy, bpm and speed. This information can be exploited for the real-time control of music and visual signals, related to the qualities of gesture.

Interactive music retrieval by movement features using mobile phone. For the Recordings made in Madrid July K. Danse provided a series of instructions for the creation of movement, first sent to various dancers, before being experimented live and recorded. For the recordings in Amsterdam December these clusters of combined qualitative units were broken up into more simple quality instructions as derived from the Laban approach , improvised by dancer Miri Lee and sonified by Pablo Palacio and Marije Baalman.

This is a useful tool to obtain multimodal movement datasets of dance and movement, for further study, analysis, and support to artistic projects in MetaBody. These EyesWeb software modules were also released to some MetaBody partners for artistic performances. What has been done: We developed two EyesWeb applications: Disappearing Dancer 1: The dancer disappears when she does repeated predictable movements based on real-time analysis of the recurrence of the gesture — Recurrence Quantification Analysis.

Disappearing Dancer 2 : only sudden jerky movements cause the dancer visible, fluid movements cause the dancer to disappear based on real time analysis of Impulsivity in the gesture The first versions of these two EyesWeb patches were presented at the event in Madrid July , then they were refined for Steim event Dec New versions developed in are based on new algorithms of Recurrence Quantification Analysis and on refinements of movement qualities.

Demo: the dancer disappears if he does repetitive and recurrent movements. Technical direction: Corrado Canepa. Recordings under guidance of K-Danse with collaboration of Stocos. Danse and recorded in Madrid, based on accelerometers and Kinect. What has been done: This work includes an EyesWeb application to extract expressive features from the movement of dancers and video data captured with accelerometers on smartphones.

This has given birth to the devising of a map of 19 qualitative movement clusters or units containing each a mix of quality factors. The intricacy put forward has demonstrated a rather complex approach which challenges the computer analysis due to the diversity of interpretation by dancers providing data difficult to decipher.


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These qualitative movement units provide a different approach, away from The Laban oriented one, able to encompass a larger spectrum of expressive movements and yet more difficult to be identified. The scientific and technological challenge is enhanced by the fact that these combined qualitative units can be used for micro-dramaturgies per se, and not just as a set of different expressive movements.

An even higher level of analysis for complex visual and sonic mapping is at stake in this context. Trans-Media-Akademie Hellerau. The actual background of the HOLOstage project is the 3D representation of the dancers who not only transmit position data and the silhouette of the virtual performers but in this special case their entire joint coordinate data, either with the help of motion capture in the camera interface or camera systems which PrimeSense depth sensors enable a three-dimensional mapping.

In this virtual resolution with real-time transmission the coordinates of the entire body allow to decrypt the dancers as 3D characters. In the implementation of the aesthetics, it is a wireframe model, which is representative then presented to the presence of the dancers and makes present in a new form. In the model representation this wireframe includes the abstraction of a virtual appearance. To really stand out as three-dimensional interaction objects for the real dancers available the 3D objects or virtual avatars, which are proxy objects for the performers on the holographic stage, of course need an extension in the visualization then.

For the final performance situation we intend that the real-dancer interacts with three or four avatars and makes contact via image and sound modulation. When improvising with these otherplace performers and exploring interactive constellations she mediates the simulated presence of virtual dancers directly, so the own creative dance movements happen reactively in a new way.

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What is an interaction in a virtual environment when it can give no extended self-experience for the protagonist and no extended immersive experience will arise for the spectators? Description: The artist and the audience wear a micro-controller propped pulse camera at their own figure.

During the performance we will create rooms which address to various emotions. The acquired pictures of audience and performer will be visible through a projection and therefore will as feedback become again a part of the performative installation. View limiting objects should stimulate the audience to move itself through the installation. So it will become part of a constantly changing art work which removes the borders between the acting artist and the viewer.

The audience is encouraged to self-creation and itself gives the input for a collective perception from the inside. Purpose and relation with Metabody outcomes: Experiment new forms of embodied interaction with audience. Conception and direction: Isabelle Choiniere — Corps Indice. Under a faint glow appears a three-dimensional human sculpture: five women, bodies intertwined, form a Collective Body. Transported by the chant of their own murmurs, they slowly carry one another into a continuous wave.

Bodies and breaths entangle, the women are simultaneously five bodies and one same mass, five voices and one choir. From the different dynamics of movement emerges an organic soundscape. Acting as the sixth dancer of the piece, the sound travels all around the spectators, integrating them in the live sound form. This immersion provokes a loss of bearings because the audience finds itself in the flesh: spectators are confronted to the extremely intimate. What has been done: Production of an artistic work of Isabelle Choiniere — Corps Indice — presented at the Dresden Forum in the form of performance and through lectures.

This work of the guest artist Isabelle Choiniere was proposed as the core of investigation on embodied performance practices of the Dresden Forum. Results: Artistic work premiered at the Dresden Forum Nearly a hundred years ago, the Futurists collaborated on an eccentric vision of a society to come, based on revolutionary fervor of the time. Featuring dancers and musicians, the work incorporates body-worn-technologies where the structure of the wearable has been developed alongside its interactive and sound generating potential for gestural performance.

The artistic premise of the design is to make the activation and presence of sound very visual and sensual to both the performer and the viewer. Purpose and relation with Metabody outcomes: Artistic and technical research into wearables. Description: Metakimosphere no. Initial kinespheric tests, proposed by Jaime del Val in Amsterdam, were elaborated by Azzie McCutcheon and the lab team in London spring Azzie was joined by Martina Reynolds for test development, material construction, conceptual-choreographic evolution, along with Helenna Ren and Yoko Ishiguro, of the physical kimosphere-structure, as well as joined by Chris Bishop, Seeta Indrani and Cameron McKirdy for the software programming, the live kinect camera interface Bishop and generative algorithms written by McKirdy.

In late , the expanded DAP-Lab team began building the third installment of the kimosphere, to be premiered April, , at the IMF London, which will be held as planned even after the termination of the Metabody grant period in January Metabody Archive 1. Is the transcription accurate? Is it a good teaching tool? Consider writing about your experience and musical tastes. Are you a beginner who started playing last month?

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No reservations needed. Register at the door, , on the day of the event. Phase I is the academic screening portion. When a completed application is submitted to Garrison SVPA, it will be reviewed to ensure that all academic and behavior requirements are met. If the student meets all requirements, then they will enter Phase II, the audition process. All students who audition will be ranked according to their audition results. Students will be placed for the upcoming school year based on their audition ranking order and the seats available in each program.

You only need to fill out an application online. Students in Grades 1 — 5 must meet certain criteria. If the student is currently enrolled in a SCCPSS school, the supplemental documentation below will be reviewed electronically once an application has been submitted online.

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There will be no need to supply the school with paper copies for this current year. For students not enrolled in SCCPSS, please submit your documents to the front office Monday — Friday, — pm during this window in order for your child to be placed into the lottery. Each candidate will present a portfolio that demonstrates a good understanding of the elements of art and principles of design. The student will also be asked to complete an observational drawing on-site during the audition.

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These works may include the human portrait, still-life objects, landscapes, and animals using a variety of media such as pencil, charcoal, colored pencil, pastel, paint, etc. Drawings and paintings should range in size from 8. Avoid notebook paper.


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The portfolio may receive a maximum score of 40 points: Art Portfolio Points Available Three Observational Artworks 20 Three Additional Artworks 20 Drawing Evaluation During the audition, students will be required to draw a still-life from observation. The drawing will be evaluated based on evidence and understanding of line, tone, form, perspective, emphasis, and composition. All drawing materials will be provided, but students may bring their own if they wish to do so. Students will have approximately 45 minutes to complete the drawing. Students are expected to prepare and perform audition selections and demonstrate knowledge of music terms and music listening skills.

Students are strongly encouraged to purchase and use Excellence in Theory: Method Book One to help improve music theory, music terms and ear training. The software program Smart Music is also helpful for the audition process smartmusic. Music terms will be selected from last page of Essential Elements for Band method book. Holds instrument properly. Rarely sits up Sits up some of the time; Sits up most of the time; Sits up straight with head up. Beat head down.

Feet flat on the Both feet flat on the floor. Rhythmic Accuracy Rarely maintains a steady Maintains a steady beat some Maintains a steady beat Maintains a steady beat beat. Plays at own tempo. Plays at own through most of the excerpt through entire excerpt at Pitch Accuracy Gives few notes and rests tempo. Gives all notes and rests Intonation Gives some notes and rests Gives most notes and rests Articulation errors proper value.

Plays some pitches correctly. Plays most pitches correctly. Plays all pitches correctly. Phrasing Excellent breath support. More than 4 errors errors errors Keeps pitches in tune and Additional Breath support unsteady. Breath support steady Breath support mostly Comments Few pitches in tune and sometimes. Some pitches in steady. Most pitches in tune even. Creates a flowing line of errors errors music most of the time. Creates a flowing line of Rarely creates a flowing line Creates a flowing line of Usually breathes in between music. Breathes in between music some of the time.

Breathes often, Sometimes breathes in phrases. Stands time. Has correct properly most of the time from the instrument. Accuracy 4 errors rests proper value. Plays few pitches Gives most notes and Plays all pitches correctly. More than 4 errors rests proper value. Plays all of the Rarely plays the Plays some of the notes correctly. Rarely uses marked in the music. Plays most notes with the sticking when Comments alternate sticking when Plays some of the articulations marked in appropriate.

Plays most of appropriate. Rarely creates a flowing errors Total Points line of music, breaking Creates a flowing line of Creates a flowing line of the musical idea. P Piano; soft, quiet 2. Moderato Tempo marking indicating restrained or moderate.