THE ROMEO MUSIC INTERNATIONAL MIDI EDITIONS(TM) ON-LINE REFERENCE BOOK VERSION RMME0025 ************************************************** * * * -- NOTE -- * * * * THIS BOOK WAS CREATED TO BE DISPLAYED, * * PRINTED, AND READ WITH MONO-SPACED LETTERING. * * MONO-SPACED LETTERING MEANS THAT EACH LETTER * * AND CHARACTER IS THE SAME WIDTH AS EVERY * * OTHER LETTER AND CHARACTER. * * * * MANY COMPUTER SCREENS AUTOMATICALLY DEFAULT * * TO THIS TYPE OF DISPLAY. EXAMPLES OF FONTS * * WHICH ARE MONO-SPACED ARE MONACO and COURIER. * * * * YOU ARE USING MONO-SPACED LETTERING IF THE * * FOLLOWING TWO LINES ARE THE SAME LENGTH: * * * * 1111111111111111111111111111111111111111 * * mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm * * * * * ************************************************** Dear Customer, Welcome to Romeo Music MIDI Editions, an exciting line of General MIDI file products. Romeo Music International has the ability to provide you with the absolute best value, support, and service in the MIDI file industry. Our mission is simple: create the highest quality music files. support all personal computer platforms. deliver the best service and support possible. deliver the greatest possible value to our customers. With these four goals, you can be assured that every Romeo Music product is without question the best product your hard-earned money can buy. We have over seven million notes of music entered, and sell thousands of products in over 30 countries around the world. Customers who buy our products re-order again and again. We are dedicated to winning the support and loyalty of our customers. Thank you for your purchase! James J. Romeo President -->>30-DAY "LOVE IT OR RETURN IT" At Romeo Music we stand behind every product we make. We want you to be happy! If any product you receive is defective, call us for a Return Merchandise Authorization Number and receive a replacement or a full refund. Hassle-free, guaranteed! -->>AT YOUR SERVICE THROUGH YOUR LOCAL DEALER, OR DIRECT BY PHONE/FAX/MAIL Ask for RMI at your local dealer (DEALER AND DISTRIBUTOR INQUIRIES WELCOME!) Or, you can place your order by calling Monday-Friday from 9:00 AM to 5:30 PM EST at 1-617-254-9109, or 1-800-852-2122, or by FAX 24 hours a day at 1-617-254-9170, or by mail. We have NO minimum order requirement! -->>THE BEST PRICES Our aggressive pricing means lots of music at low prices! Pay with VISA/MASTERCARD or a personal check. Institutional P.O. also accepted. -->>WE SHIP ANYWHERE IN THE WORLD U.S. PRIORITY MAIL--that's how you'll get your U.S. order, as quickly as possible. Remember to include $3.50 for U.S. shipping. We also provide next day service if you need it. Foreign customers please inquire for shipping details. MA residents please include 5% sales tax. ********************************************************* ********************************************************* ** We promise ** ** to provide fast, friendly ** ** service and support. ** ********************************************************* ********************************************************* ROMEO MUSIC INTERNATIONAL 214 Lincoln Street, Suite 104 Allston, MA 02134 U.S.A. ********************************************************* ********************************************************* ** THE BOOK STARTS HERE! ** ********************************************************* ********************************************************* TABLE OF CONTENTS Preface. Chapter 1. Overview of using the RMI MIDI Edition files. Chapter 2. Brief Overview of MIDI. Chapter 3. Composer Biographies. Chapter 4. Database Descriptions of Pieces. Chapter 5. Prose Descriptions of Selected Pieces. Chapter 6. Overview of "Classical" Style Periods. Chapter 7. Musical Terms Glossary. Chapter 8. Multimedia Questions and Answers. Chapter 9. Order Information. Chapter 10. Closing Remarks: Some Info on RMI. APPENDIX A: General MIDI Patch Assignments APPENDIX B: General MIDI Percussion Drum Note Assignments APPENDIX C: A Complete Index Of Pieces COPYRIGHT INFORMATION & LICENSE AGREEMENT THE "FINE PRINT" WARRANTY ********************************************************** ********************************************************** ** PREFACE ** ********************************************************** ********************************************************** Welcome to our disk-based RMI MIDI Editions Reference Book. We decided to give you our documentation on disk for the following reasons: - It makes things easier to find, since you can use the FIND or SEARCH feature in your word processor to locate information quickly. - You can, legally, use information from this document for your own purposes, such as teaching, multimedia presentations, liner notes, products you sell, demo tapes, and so on. CHECK OUT OUR LICENSE AGREEMENT -- IT'S THE BEST IN THE INDUSTRY! Having this document on disk already means that you can just copy and paste the information you need directly into your own documents. - And finally, you can selectively print just those sections you want or need to have a hard copy of, if any. It's better for the environment! We hope you enjoy the information here. If you have any comments or questions, feel free to call us at any time! ********************************************************** ********************************************************** ** CHAPTER 1 ** ** Overview of using the RMI MIDI Edition files. ** ********************************************************** ********************************************************** Some of the pieces have been recorded in what we call "score format," while others have been recorded in what we call "performance format." There are advantages to each type of file, so that's why we provide a mixture (e.g., "score" is easier for cut and paste MIDI arrangements, "performance" is good for lots of built-in expression). NOTE THAT ALL PERFORMANCE FILES ARE MARKED WITH AN ASTERISK IN OUR CATALOG, AND IN THE LIST AT THE END OF THIS BOOK. Another way of thinking about the difference is this: SCORE FORMAT means that the music is entered as "URTEXT" scores, i.e., as a quantized score-on-disk format of the music. PERFORMANCE FORMAT means that the music is entered in as a musical performance, i.e., as a free-recorded performance-on-disk format of the music. Note, however, that the SCORE FORMAT files have expression built in: all of them have correct choice of starting tempo, and correct General MIDI patch changes. Many SCORE FORMAT files also have ritards and other rhythmic expression, basic balancing of tracks with velocity, and so on. PERFORMANCE FORMAT files are the result of a live performance being recorded through MIDI. To preserve the true feel of live performance, we've hardly edited these files at all. Instead, if we didn't like a take, we just re-recorded new takes, until we got the one we liked. And you can believe that we made hundreds of takes! We have of course done some editing, but our primary goal in putting together performance files is to capture the true feel of live performance. Consequently, we have intentionally left in "human imperfections" -- there is no quantizing, no deflamming, no velocity adjustment, very little "cleaning up" of parts, and so on. The result is, we hope you agree, a stunning collection of concert-quality performances. Getting any sequence, score format or performance format, to sound its very best on your MIDI setup is a fun and rewarding challenge. For the benefit of those working with synths that adopt the new General MIDI default patch format, the RMME team has programmed the appropriate GM patch changes into every RMME MIDI file -- with General MIDI, all you have to do is hit the play button! Of course, there's still a wide variety of synth gear out there without the GM format. In this case, you'll want to alter the program change numbers to suit your particular setup. Just start by making some reasonable guesses for the assignments -- have fun, and use your sequencer's ability to insert and edit patch changes for easy experimenting. After you hear the piece once or twice, you can fine tune the patch selection. You'll also need to balance your tracks, which you can of course do with a mixing board; but this is also very easily accomplished with sequencer MIDI volume sliders, or basic velocity adjustments. Finally, a word about sound effects and drums. Some pieces (not the classical ones!) use sound effects with track names like "screeches" and so on. Just have fun trying out different patches, and see what happens! In every case like this, the sequence has been created to sound good without that track, so as a last resort you can always just change the playing status for that track to mute it. And, of course, if you have a General MIDI instrument, we've selected a patch that works. For the drums, we have almost always followed the General MIDI standard, which matches the "standard" Roland drum machine note assignments. To make it easier for you to remap the drum sounds if you need to, in many cases the different drum parts are on separate tracks (i.e., snare on one track, kick on another, etc.). You can then use your sequencer's transpose feature to make the adjustments for your drum machine. *************************************** NOTES ON THE PERFORMANCES AND PIECES As mentioned above, the PERFORMANCE FORMAT files have been edited very little, to retain the "live" performance feel. All of this music has been played by nationally known concert artists. For example, the opera selections were played by a well-known opera conductor in the Northeast. The piano solos were played in by a concert pianist from Boston. Here are a few notes to help you get the most out of the PERFORMANCE FORMAT files: For the vocal selections, you can of course change the keys to fit your voice, and change the tempo as well (few amateurs will be able to sing the Figaro aria at the tempo given here!). This is also true of the instrumental pieces, for example if you want to do a play-along performance of the flute sonata or the piano concerto. In most instrumental pieces, we have left the instrumentation strictly as it is indicated in the score. In the ART SONGS RECORDINGS, we have of course given both a piano and a voice track. For the OPERA MASTERPIECES, we have given the accompaniment as a piano reduction of the score--one piano track, and usually one voice track (there are a couple cases where the voice part is incorporated into the accompaniment, as it is in the original score). In the two vocal recordings, we have put in General MIDI patch changes for the voice as either a flute, a brass instrument, strings, etc., as we saw fit. You of course should feel free to change this as you wish. Or, as is likely, you'll want to turn the voice off and try singing along! Here are a few other PERFORMANCE FORMAT musical notes: 1. In our guitar recordings, we've often used pedal to simulate the sustained effect of the acoustic guitar. Guitar harmonics were transposed (or not) to give the best musical result for playback with a single acoustic guitar patch. With a little editing, other sounds work too, like harp, vibes, some synth "bell" patches, etc., even strings. In some cases we've had a little fun and used non-guitar patches. 2. For the Mozart Flute Sonata, use a fast-attack flute -- this is especially important for the trills to come out. We've also slightly overlapped (for legato) some notes in the flute, which of course a real flute can't do. But this makes for a more realistic playback given the response of most MIDI flutes. 3. In general for the piano parts (especially the solo piano works like the Beethoven Sonata), you may want to fiddle with the velocities. Since your piano patch may respond to the MIDI velocity curve differently than ours (we used a Kurzweil 250), you may want to make the loud parts softer, and vice versa. 4. Here for a quick overview is some info on the Mozart Piano Concerto. The track assignments are as follows: Channel 1 Flute; Channel 2 Oboe; Channel 3 French Horn; Channel 4 Trumpet; Channel 5 Timpani; Channel 6 Piano; Channel 7 1st Violin arco; Channel 8 2nd Violin arco; Channel 9 Viola arco; Channel 11 Cello arco; Channel 12 Bass arco; Channels 13-16 Pizzicato Strings. This sounds great on our setup; you may need to tweak it on yours. Specifically, on your system the horns and oboes may be loud; the piano may be soft. Use fast attack for winds and strings, especially so the trills can come out. Pedal was used in certain tracks that would not ordinarily have pedal (e.g., strings) to trigger alternate releases, in all cases about a 2-second fade. 5. In the vocal parts, there is frequently overlap from one note to the next. This of course is impossible for a voice to do, but is a common way for the melodies to be played on the piano for singers to learn from--more importantly, this legato overlap on the piano will also make the melodies sound a little better on many synth patches. 6. In most harpsichord parts (e.g. in the Mozart song, and in the Flute Sonata), we left in the velocity values for the harpsichord part, in case someone out there wants to use piano. A real harpsichord, of course, is not "velocity sensitive." If the un-authenticity of this bugs you, just turn off velocity sensitivity for your harpsichord patch, or flatten out the harpsichord velocities with your sequencer. 7. Just for fun, we used a New Age "Fantasia" General MIDI patch number for the voice part in the Debussy Romance. 8. Note that in two of the Art Songs, there is only a piano track--no voice track. That's because we have created the piano reduction from the orchestra part, which includes the vocal melody already. 9. Have fun! And if you have any questions at all, give us a call at 617-254-9109 any time. ********************************************************** ********************************************************** ** CHAPTER 2 ** ** Brief Overview of MIDI. ** ********************************************************** ********************************************************** NOTE 1: This chapter is (C) 1988 Romeo Music International, and has appeared in many articles, books, and documentation manuals. NOTE 2: For information on General MIDI, see Appendix A and B. Music technology has come a long way in the last 12 years between 1980 and the 1990s. There have been many important developments, but the most important has been the creation and development of MIDI -- the Musical Instrument Digital Interface. At the National Association of Music Merchants (NAMM) convention in January of 1983, music history was made when a Roland JP-6 and a Sequential Circuits Prophet 600 communicated with each other via MIDI cables. This was the first time this had been done with independently developed products from different manufacturers. Back in 1983, MIDI was the new kid on the block and nobody really knew what to make of it. These days, MIDI is a fact of our musical lives. There are MIDI cables, MIDI keyboards, MIDI sequencers, MIDI drum machines, and dozens of other MIDI products (both musical and non-musical). But MIDI itself isn't a cable or a keyboard or a drum machine or anything like that. It's really just paper and ink -- a printed document describing a bunch of computer commands and a couple pieces of hardware. This document, officially called The Detailed MIDI Specification (or MIDI Spec), defines a communications standard for electronic musical instruments. Here's what it's all about. GENERAL DEFINITION MIDI is not a piece of software, or a piece of hardware, or cables, or anything like that. This is what MIDI is: MIDI is an agreement between people. A bunch of people got together, and decided to assign specific numbers to certain things. For example, Middle C was given the number 60. So, when you play Middle C on your keyboard, the number 60 zips along the cable. That's all MIDI is -- an agreement that certain numbers will mean certain musical things. Oh, and MIDI also specified what the cable would look like. That's basically it! SPECIFIC DEFINITION Musical... Computer communications standards are developed all the time as a way of stimulating development in computer and related industries. For example, the American Standard Code for Information Interchange, or ASCII ("ask-key"), is a standard for how computers represent the characters of the English language (e.g., the capital letter A is number 65). MIDI was developed as a communications standard for musical instruments. The MIDI Spec (which is the written down agreement between people referred to earlier) lists commands that pertain specifically to musical events like playing notes and pressing sustain pedals (e.g., the note Middle C is number 60). ...Instrument... MIDI was designed specifically for musical instruments. One of the very first incarnations of MIDI was something called the Universal Synthesizer Interface. Many people think of synthesizers just as keyboards. But today, keyboard synthesizers are only a part of the entire MIDI world. There are also guitar synths, drum synths, violin synths, and even vocal synths. In fact, just about any traditional acoustic instrument can be MIDI-ed. In addition to musical instruments, many other types of electronic devices use MIDI as well, like effects processors and lighting consoles. There are even "instruments" that are just electronic cards you stick into your computer. Virtually any device with a micro-processor in it can use MIDI if it is programmed to understand the commands listed in the MIDI Spec. Because all MIDI devices have micro-processors, you can think of them as just another type of computer that's programmed for a very specific application. ...Digital... As mentioned, MIDI instruments communicate with each other by sending numbers back and forth along MIDI cables. Numbers are the only thing that MIDI instruments can respond to. Sometimes people get the idea that MIDI instruments have special musical properties or that they somehow "understand" music itself. That isn't true at all. Music and sound can't be communicated over a MIDI cable. Actions like playing a note on a keyboard or pressing a sustain pedal must be translated into numbers before they mean anything to a MIDI instrument. ...Interface Interface, as it is used here, refers to the ability of two (or more) devices to communicate with each other using the commands in the MIDI Spec. Because it's just paper and ink, MIDI itself doesn't provide the physical connection between two devices -- that's what MIDI cables are for. People often confuse MIDI (the document) with a piece of hardware called a MIDI interface. The term "MIDI interface" is usually used to describe a piece of hardware that you connect to a computer running MIDI software. Most computers don't have MIDI plugs built into them. If you want to connect a MIDI instrument to a computer you need a set of MIDI plugs to connect it with. That's all a MIDI interface really is -- a set of MIDI plugs that allows a personal computer (or MIDI device) to be connected to (or "interfaced" with) other MIDI devices. MIDI PORTS In order for something to be called a piece of MIDI equipment it has to have at least one MIDI port. There are three types of ports: MIDI In, MIDI Out, and MIDI Thru. Each type of port has one (and only one) function: MIDI In ports can only receive MIDI data. MIDI Out ports can only send MIDI data. MIDI Thru ports can only pass along (or "send out") the exact same MIDI data that is received at the MIDI In port. MIDI CONNECTIONS No matter how many MIDI devices you have in a MIDI setup there are really only two ways to connect MIDI devices that make any sense: MIDI Outs should only be connected to MIDI Ins. MIDI Thrus should only be connected to MIDI Ins. Connecting Outs to Outs, Ins to Ins, Thrus to Thrus, or Thrus to Outs won't get you anywhere! MIDI CHANNELS You may have heard that there are 16 MIDI channels. That's true. But it's important to make the distinction that these channels are not discrete physical things like the audio channels on a mixing board. They're just numeric designations that are sent as part of most MIDI messages. These designations tell other MIDI devices if they are supposed to act on a particular MIDI message or just ignore it. When you press a key on a MIDI keyboard connected to another MIDI device, a short digital message (3 numbers) passes down the MIDI cable. The MIDI channel is part of the first number of that message. Only devices that are "listening" to that channel will respond. To make sure that an instrument is "listening" to a particular channel its MIDI mode must be set properly and its MIDI receive channel must be set to match the channel of the appropriate transmitting device. This is what allows you to send a patch change number to only one channel, for example. CONCLUSION Although this little overview is very basic and sketchy, we hope it helps you get started. For more information, check out your local music store -- they're sure to have one (or more) of the excellent Introduction to MIDI books that is currently available. ********************************************************** ********************************************************** ** CHAPTER 3 ** ** Composer Biographies. ** ********************************************************** ********************************************************** Here is a set of very brief composer biographies. This might be helpful for selecting pieces for use with film, video, or multimedia presentations; also, feel free to use this information in your own teaching materials, liner notes, products, and so on, in accordance with our License Agreement! Aguado, Dionisio (1784-1849). Born in Madrid. He composed collections of Andantes, Waltzes, Minuets, etc., as well as works of a national character such as his Fandango Opus 16. Bach, Johann Sebastian (1685-1750). German composer, cantor at Leipzig, now acknowledged as the greatest composer of his age. Master of counterpoint, creator of masterpieces in every existing genre of his day, except staged opera. Beethoven, Ludwig van (1770-1827). German composer, universally recognized as one of the greatest composers who ever lived. Young Beethoven's musical gifts were acknowledged by Mozart and Haydn, and his piano virtuosity and extraordinary compositions won him the generous support of the Viennese aristocracy despite his notoriously boorish manners. Despite the onset (1801) of deafness, which became progressively worse and was total by 1817, his creative work was never restricted. Bizet, Georges (1838-75). French composer. The son of musicians, he entered the Paris Conservatory at age 9. Some operas: Les pecheurs de perles (1863); La jolie fille de Perth (1867); Carmen (1875); music for the play L'Arlesienne (1872). Brahms, Johannes (1833-97). German composer, ranked among the foremost masters. He earned a living in Vienna as a moderately successful composer, incorporating the romantic impulse with classical spirit. His four symphonies are considered among the greatest in symphonic music. He composed in almost every genre except opera, devoting special attention to chamber music and song. His lieder are world-wide favorites. Byrd, William (1543-1623). English Roman Catholic, who wrote both Anglican and Catholic Church music, in addition to secular and instrumental pieces; pupil of Tallis, and co-holder with him of music-printing monopoly for England. One of the greatest keyboard composers of all time. Carcassi, Matteo (1792-1853). Guitarist/composer who acquired a wide reputation as a touring virtuoso, and a personal friendship with the publisher Meissonier probably helped to introduce his compositions to the Parisian public. Possessing a gift for simplicity, he had a strong melodic sense and an imaginative use of the higher positions of the instrument. Carulli, Ferdinando (1770-1841). He was essentially a self-taught guitarist who achieved celebrity as a performer. At about the age of thirty-eight he settled in Paris, where his virtuoso capacity soon won him a devoted following of students and admirers. His method became a standard work, and was followed by numerous further publications totaling eventually more than three hundred and fifty. Chambonnieres, Jacques Champion de (1602-ca. 1672). French court harpsichordist and composer. The founder of the French tradition of harpsichord composition, he composed suites of dance pieces in a refined style derived from courtly lute music. Chopin, Frederic (1810-49). Franco-Polish composer; b. Poland. He brought romantic piano music to unprecedented heights of expressiveness. In the 1830's, he settled in Paris; although he remained a Polish nationalist, he never returned home. Chopin established the piano as a solo instrument free from other influence, and displayed a type of pianistic virtuosity unknown previously. Debussy, Claude (1862-1918). French composer. Most famous Impressionist composer. Opera Pelleas et Melisande (1902). For orch.: Prelude a l'apres-midi d'un faune (1894); La mer (1905); Images (1908). Ballets Jeux (1912); Khamma (1912). Chorus and orch.: Le martyre de Saint Sebastien (1911); La damoiselle elue (1887-1888). Piano wks. include 2 bks. of Preludes; Images (2 bks.); Estampes; Etudes (2 bks.); Children's Corner. Sonatas for 'cello; for violin; for flute, viola, and harp. String quartet. Many songs. Des Prez, Josquin (ca. 1450-1521). Best and most famous composer of his age; among his numerous Masses, Missa Mater Patris may be the first complete parody Mass; motets of exceptional beauty and variety. Faure, Gabriel (1845-1924). French composer, teacher, director of Paris Conservatory (1905-20). Incidental music for plays, incl. Pelleas et Melisande (1898). Pavane for orch. (1897). Ballade and Fantasie for piano and orch. (1881, 1919). Romance for violin and orch. (1882). Requiem (1887). Chamber music: 2 piano quintets, 2 piano quartets, 2 violin sonatas, 2 'cello sonatas, string quartet. Piano works. Songs incl. cycle La bonne chanson. Franck, Cesar (1822-90). Belgian-born composer, organist of Ste-Clotilde, Paris. Symphony (1889). Violin Sonata (1886). Piano quintet (1879). Symph. poems Le chasseur maudit; Psyche (1883, 1888). String quartet (1889). Much organ music. Sacred vocal music. Gabrieli, Giovanni (c. 1557-1612), the nephew and pupil of Andrea Gabrieli, and outstanding Renaissance composer. Much of his music was written for St. Mark's Cathedral, which featured two choirs facing each other from opposite sides of the room. In addition to the choirs, Giovanni Gabrieli placed instrumental groups in the galleries. The effect was a 16th-century version of quadrophonic sound. He was one of the first composers to indicate dynamic levels in the music and to designate specific instruments for certain parts. Gesualdo, Carlo (c. 1560-1613). Renaissance composer known for his madrigals with experimental harmonies. Definitely an "avant-garde" composer of his day. Giuliani, Mauro (1780-1840). Italian guitarist and composer. A leading figure of the period, whose compositions and performances earned him the respect of leading musicians of the time and who, with Sor, may be considered a prime influence in establishing a level of serious professionalism for the guitar. Grieg, Edvard (1843-1907). Norwegian composer; studied at Leipzig. Strong champion of Norwegian music. Performed his piano concerto at age 25. Incidental music to Ibsen's Peer Gynt, from which are drawn the two well-known suites. Ten sets of Lyric Pieces for piano. Many songs. Handel, George Frideric (1685-1759). Raised in Germany, trained in Italy, lived and worked in England; he is the best example of a universal high Baroque style that has never lost its appeal. Haydn, Joseph (1732-1809) Austrian composer, one of the great masters of classical music. Haydn wrote over 100 symphonies, establishing the basic form. His string quartets and symphonies expanded C.P.E. Bach's three-part form, affecting the development of classical sonata form. He wrote over 80 string quartets, over 50 sonatas, and many other pieces. Joplin, Scott (1868-1917). Black American ragtime pianist and composer; b. Texarkana, Tex. The best-known ragtime composer, he wrote such works as "Maple Leaf Rag" (1899) and the ragtime opera Treemonisha (1911). Lasso, Orlando di (1523-94). Very prolific composer, widely traveled and celebrated; worked in Italy and in Antwerp and Munich. Legnani, Luigi (1790-1877). Born in Ferrara, Italy, he gained early musical experience with the opera in Ravenna. After a highly successful performance as a guitar soloist in Milan in 1819, his career was established and he toured Europe extensively. He toured on a number of occasions with Paganini, playing the guitar part to the latter's duets for violin and guitar. Liszt, Franz (1811-86). Hungarian composer. A revolutionary figure of romantic music, acknowledged as the greatest pianist of his time, he studied with Czerny and lived in Paris in artistic circles (1823-25), enthralling audiences with his expressive, dramatic playing. Liszt taught most of the major pianists of the next generation. Milan, Luis (1500-61). 16th-century Spanish composer for the vihuela, a predecessor to the modern day guitar. Monteverdi, Claudio (1567-1643). Prolific and innovative, he bridges, in his music, the gap between Renaissance and Baroque. He produced imaginative masterpieces in all genres of vocal music: madrigal, opera, concertato vocal music, monody, and sacred music. Moussorgsky, Modest (1839-81). Russian composer. Informal musical education led to a compelling originality seen by some as crudeness. Operas Boris Godunov (1874); Khovanshtchina (completed by Rimsky-Korsakov). A Night on the Bald Mountain for orch. Piano music, including Pictures at an Exhibition (later orchestrated by Ravel). Songs include the cycle Songs and Dances of Death. Mozart, Wolfgang Amadeus (1756-91). Austrian composer whose works represents one of the great peaks of musical history. His works, written in every genre, combine beauty of sound with classical grace and technical perfection. A remarkable prodigy, the young Mozart was composing by age 5, presenting concerts throughout Europe as a child, and by age 13 had written concertos, sonatas, symphonies, and operas. Ockeghem, Johannes (ca. 1420-1495). Chaplain and composer to the kings of France. Eleven complete mass cycles; A Requiem; several incomplete cycles and individual settings. Ca. 10 motets, some 5-voice and 6-voice. Ca. 20 chansons, most 3-voice. Known as an intellectual composer. Offenbach, Jacques Levy (1819-80). French composer; b. Germany. He is famous for his operettas, of which he wrote over 100. His masterpiece was the opera Tales of Hoffman (1881), after E. T. A. Hoffman. Pachelbel, Johann (1653-1706). German composer, noted especially for his fugues and chorale preludes for organ. Famous in recent times for the popularity of his Canon in D. Paganini, Niccolo (1782-1840). Italian violin virtuoso. He extended the violin's compass by employing harmonics, perfected the use of double and triple stops, and revived scordatura, or retuning of the strings. His 24 caprices for violin were adapted by many composers such as Schumann, Liszt, and Rachmaninoff. Palestrina, Giovanni Pierluigi da (1524-94). Worked in Rome; principally a composer of sacred music. His style is thought to represent the finest in Renaissance vocal polyphony. Purcell, Henry (1659-95). English composer, active in the theater, the court, and the Chapel Royal. His music combines English forms with Italian melody and ornament in a unique, personal style. Theater music, songs, anthems, and occasional pieces. Satie, Erik (1866-1925). French composer. Eccentric and revolutionary; cabaret pianist. Enormously influential on 20th-century music in France and elsewhere. Socrate for 4 sopranos and orch. (1920). Piano suite Gymnopedies. Ballets Parade (1917). Many piano pieces with unusual titles, e.g., Three Pieces in the Shape of a Pear, etc. Scarlatti, Domenico (1685-1757). Harpsichord virtuoso and composer, son of Alessandro Scarlatti. His brilliant keyboard sonatas are imaginative, virtuosic, idiomatic pieces of rococo elegance. Also one of the greatest keyboard composers of all time. Schubert, Franz (1797-1828). Austrian composer, one of the foremost exponents of Romanticism. His songs are among the very finest examples of German lieder. His symphonies are the final extension of the classical sonata forms. He was well-known for his chamber works and he also wrote stage music, choral music, Masses, and much piano music. Schumann, Robert (1810-56). German composer, a leader of the Romantic movement. His brilliant piano music occupied him until 1840, when he began to write orchestral music and songs. His orchestral works combine classical forms with a great emotional intensity. He was known for helping younger composers such as Chopin and Brahms. Scriabine, Alexander (1872-1915). Russian composer, pianist. Complex chromaticism; harmonic innovation. Poeme de l'exaste for orch. Prometheus (original score calls for a "color organ"). Piano works: 10 piano sonatas,; 15 sets of preludes; etudes. No chamber music or vocal music. Sor, Fernando (1778-1839). The leading guitar composer of his day, his works are more widely performed today than those of any of his contemporaries. Strauss, Richard (1864-1949). German composer, conductor. Brilliant orchestrator; especially well-known for his descriptive orchestral music. Tone poems include Don Juan; Macbeth; Till Eulenspiegelslustige Streiche; Also sprach Zarathustra. Tarrega, Francisco (1854-1909). Great composer of Romantic period guitar music. One of the most frequently performed guitar composers of all time. Tchaikovsky, Peter Ilyich (1840-93). Russian composer. Powerful melodic music. Works include Eugen Onegin (1879); Queen of Spades (1890). Ballets Swan Lake ( 1876); Sleeping Beauty (1889); Nutcracker (1892). Six symphonies; two piano concertos; violin concerto. Orchestral works include Overture Romeo and Juliet, Marche Slave, 1812 Overture, Capriccio Italien, Variations on A Rococo Theme for 'cello and orchestra. Vivaldi, Antonio (ca. 1678-1741). Priest and composer; worked at the Pieta Conservatory in Venice. He composed much sacred vocal music and many operas, most of which are unknown. His more than 400 concertos, with their rhythmic drive, their imaginative orchestration, and their melodic freshness, assure him a permanent place among the foremost Baroque composers. ********************************************************** ********************************************************** ** CHAPTER 4 ** ** Database Descriptions of Pieces. ** ********************************************************** ********************************************************** This chapter is a brief database-style description of over 100 of the pieces in the Romeo Music MIDI Editions. This might be helpful for selecting pieces for use with film, video, or multimedia presentations; also, feel free to use this information in your own teaching materials, products, liner notes, and so on, in accordance with our License Agreement! 1812 Overture, excerpt COMPOSER NAME: Peter Ilyich Tchaikovsky COMPOSER DATES: 1840-93 INSTRUMENTATION: Orchestra NUMBER OF TRACKS: 11 NUMBER OF MOVEMENTS: 1 24th Caprice COMPOSER NAME: Niccolo Paganini COMPOSER DATES: 1782-1840 INSTRUMENTATION: Violin NUMBER OF TRACKS: 1 NUMBER OF MOVEMENTS: 1 Absalon COMPOSER NAME: Josquin Des Prez COMPOSER DATES: c.1450-1521 INSTRUMENTATION: Chorus NUMBER OF TRACKS: 4 NUMBER OF MOVEMENTS: 1 Abschied COMPOSER NAME: Franz Liszt COMPOSER DATES: 1811-86 INSTRUMENTATION: Piano NUMBER OF TRACKS: 2 NUMBER OF MOVEMENTS: 1 Adelita COMPOSER NAME: Francisco Tarrega COMPOSER DATES: 1854-1909 INSTRUMENTATION: Guitar NUMBER OF TRACKS: 1 NUMBER OF MOVEMENTS: 1 Alla riva COMPOSER NAME: Giovanni Pierluigi da Palestrina COMPOSER DATES: 1524-94 INSTRUMENTATION: Chorus NUMBER OF TRACKS: 4 NUMBER OF MOVEMENTS: 1 Appassionata Sonata COMPOSER NAME: Ludwig van Beethoven COMPOSER DATES: 1770-1827 INSTRUMENTATION: Piano NUMBER OF TRACKS: 2 NUMBER OF MOVEMENTS: 3 Art of Fugue #1 COMPOSER NAME: Johann Sebastian Bach COMPOSER DATES: 1685-1750 INSTRUMENTATION: Chorus NUMBER OF TRACKS: 4 NUMBER OF MOVEMENTS: 1 Ballade in G Minor COMPOSER NAME: Frederic Chopin COMPOSER DATES: 1810-49 INSTRUMENTATION: Piano NUMBER OF TRACKS: 2 NUMBER OF MOVEMENTS: 1 Bouree in E Minor COMPOSER NAME: Johann Sebastian Bach COMPOSER DATES: 1685-1750 INSTRUMENTATION: Guitar NUMBER OF TRACKS: 1 NUMBER OF MOVEMENTS: 1 Can Can COMPOSER NAME: Jacques Levy Offenbach COMPOSER DATES: 1819-80 INSTRUMENTATION: Small Ensemble NUMBER OF TRACKS: 8 NUMBER OF MOVEMENTS: 1 Canaris COMPOSER NAME: Jacques Champion de Chambonnieres COMPOSER DATES: 1602-c.1672 INSTRUMENTATION: Flute and Harpsichord NUMBER OF TRACKS: 3 NUMBER OF MOVEMENTS: 1 Canon in D (Ordinary People) COMPOSER NAME: Johann Pachelbel COMPOSER DATES: 1653-1706 INSTRUMENTATION: Chamber Ensemble NUMBER OF TRACKS: 4 NUMBER OF MOVEMENTS: 1 Capricho Arabe COMPOSER NAME: Francisco Tarrega COMPOSER DATES: 1854-1909 INSTRUMENTATION: Guitar NUMBER OF TRACKS: 1 NUMBER OF MOVEMENTS: 1 Carman's Whistle COMPOSER NAME: William Byrd COMPOSER DATES: 1543-1623 INSTRUMENTATION: Keyboard NUMBER OF TRACKS: 2 NUMBER OF MOVEMENTS: 1 Cat Fugue COMPOSER NAME: Domenico Scarlatti COMPOSER DATES: 1685-1757 INSTRUMENTATION: Chamber Ensemble NUMBER OF TRACKS: 6 NUMBER OF MOVEMENTS: 1 Chromatic Fantasy COMPOSER NAME: Johann Sebastian Bach COMPOSER DATES: 1685-1750 INSTRUMENTATION: Keyboard NUMBER OF TRACKS: 3 NUMBER OF MOVEMENTS: 1 Chromatic Fugue COMPOSER NAME: Johann Sebastian Bach COMPOSER DATES: 1685-1750 INSTRUMENTATION: Keyboard NUMBER OF TRACKS: 3 NUMBER OF MOVEMENTS: 1 Confutatis from the Requiem COMPOSER NAME: Wolfgang Amadeus Mozart COMPOSER DATES: 1756-91 INSTRUMENTATION: Orchestra NUMBER OF TRACKS: 14 NUMBER OF MOVEMENTS: 1 Contretanz COMPOSER NAME: Wolfgang Amadeus Mozart COMPOSER DATES: 1756-91 INSTRUMENTATION: Orchestra NUMBER OF TRACKS: 6 NUMBER OF MOVEMENTS: 3 Crucifixus COMPOSER NAME: Claudio Monteverdi COMPOSER DATES: 1567-1643 INSTRUMENTATION: male chorus NUMBER OF TRACKS: 4 NUMBER OF MOVEMENTS: 1 Dido Overture COMPOSER NAME: Henry Purcell COMPOSER DATES: 1659-95 INSTRUMENTATION: Harpsichord and Strings NUMBER OF TRACKS: 6 NUMBER OF MOVEMENTS: 1 Dies Irae (The Shining) COMPOSER NAME: Anonymous COMPOSER DATES: (Middle Ages) INSTRUMENTATION: Choir NUMBER OF TRACKS: 1 NUMBER OF MOVEMENTS: 1 Doll's Lament COMPOSER NAME: Cesar Franck COMPOSER DATES: 1822-90 INSTRUMENTATION: Piano NUMBER OF TRACKS: 2 NUMBER OF MOVEMENTS: 1 Eine Kleine Nact Musik COMPOSER NAME: Wolfgang Amadeus Mozart COMPOSER DATES: 1756-91 INSTRUMENTATION: Orchestra NUMBER OF TRACKS: 5 NUMBER OF MOVEMENTS: 4 En Reve COMPOSER NAME: Franz Liszt COMPOSER DATES: 1811-86 INSTRUMENTATION: Piano NUMBER OF TRACKS: 2 NUMBER OF MOVEMENTS: 1 Etude Op 10 #1 COMPOSER NAME: Frederic Chopin COMPOSER DATES: 1810-49 INSTRUMENTATION: Piano NUMBER OF TRACKS: 2 NUMBER OF MOVEMENTS: 1 Etude Op 10 #3 COMPOSER NAME: Frederic Chopin COMPOSER DATES: 1810-49 INSTRUMENTATION: Piano NUMBER OF TRACKS: 3 NUMBER OF MOVEMENTS: 1 Etude Posthumous #1 COMPOSER NAME: Frederic Chopin COMPOSER DATES: 1810-49 INSTRUMENTATION: Piano NUMBER OF TRACKS: 2 NUMBER OF MOVEMENTS: 1 Etude Posthumous #2 COMPOSER NAME: Frederic Chopin COMPOSER DATES: 1810-49 INSTRUMENTATION: Piano NUMBER OF TRACKS: 2 NUMBER OF MOVEMENTS: 1 Etude Posthumous #3 COMPOSER NAME: Frederic Chopin COMPOSER DATES: 1810-49 INSTRUMENTATION: Piano NUMBER OF TRACKS: 3 NUMBER OF MOVEMENTS: 1 Fantasie in C Minor COMPOSER NAME: Johann Sebastian Bach COMPOSER DATES: 1685-1750 INSTRUMENTATION: Keyboard NUMBER OF TRACKS: 2 NUMBER OF MOVEMENTS: 1 Flight of the Bumblebee COMPOSER NAME: Rimsky Korsakov COMPOSER DATES: 1844-1908 INSTRUMENTATION: Flute and Strings NUMBER OF TRACKS: 3 NUMBER OF MOVEMENTS: 1 Gavotte in G Maj COMPOSER NAME: Johann Sebastian Bach COMPOSER DATES: 1685-1750 INSTRUMENTATION: Keyboard NUMBER OF TRACKS: 2 NUMBER OF MOVEMENTS: 1 Gymnopedies #1 COMPOSER NAME: Erik Satie COMPOSER DATES: 1866-1925 INSTRUMENTATION: Piano NUMBER OF TRACKS: 2 NUMBER OF MOVEMENTS: 1 Gymnopedies #2 COMPOSER NAME: Erik Satie COMPOSER DATES: 1866-1925 INSTRUMENTATION: Piano NUMBER OF TRACKS: 2 NUMBER OF MOVEMENTS: 1 Gymnopedies #3 COMPOSER NAME: Erik Satie COMPOSER DATES: 1866-1925 INSTRUMENTATION: Piano NUMBER OF TRACKS: 2 NUMBER OF MOVEMENTS: 1 Hark! Hark! The Lark! COMPOSER NAME: Franz Schubert COMPOSER DATES: 1797-1828 INSTRUMENTATION: Piano and Voice NUMBER OF TRACKS: 3 NUMBER OF MOVEMENTS: 1 Harmonious Blacksmith COMPOSER NAME: George Frideric Handel COMPOSER DATES: 1685-1759 INSTRUMENTATION: Keyboard NUMBER OF TRACKS: 2 NUMBER OF MOVEMENTS: 1 Improvisation COMPOSER NAME: Gabriel Faure COMPOSER DATES: 1845-1924 INSTRUMENTATION: Piano NUMBER OF TRACKS: 2 NUMBER OF MOVEMENTS: 1 In the Hall of the Mountain King COMPOSER NAME: Edvard Grieg COMPOSER DATES: 1843-1907 INSTRUMENTATION: Piano NUMBER OF TRACKS: 2 NUMBER OF MOVEMENTS: 1 Italian Concerto COMPOSER NAME: Johann Sebastian Bach COMPOSER DATES: 1685-1750 INSTRUMENTATION: Keyboard NUMBER OF TRACKS: 2 NUMBER OF MOVEMENTS: 3 Jubilate Deo COMPOSER NAME: Orlando di Lasso COMPOSER DATES: 1523-94 INSTRUMENTATION: Chorus NUMBER OF TRACKS: 4 NUMBER OF MOVEMENTS: 1 L'Enfant Overture COMPOSER NAME: Claude Debussy COMPOSER DATES: 1862-1918 INSTRUMENTATION: Orchestra NUMBER OF TRACKS: 19 NUMBER OF MOVEMENTS: 1 L'Innocence COMPOSER NAME: Georges Bizet COMPOSER DATES: 1838-75 INSTRUMENTATION: Piano NUMBER OF TRACKS: 2 NUMBER OF MOVEMENTS: 1 L'Oreste Overture COMPOSER NAME: George Frideric Handel COMPOSER DATES: 1685-1759 INSTRUMENTATION: Orchestra NUMBER OF TRACKS: 6 NUMBER OF MOVEMENTS: 1 La Cathedral COMPOSER NAME: Claude Debussy COMPOSER DATES: 1862-1918 INSTRUMENTATION: Piano NUMBER OF TRACKS: 2 NUMBER OF MOVEMENTS: 1 La Damoiselle Overture COMPOSER NAME: Claude Debussy COMPOSER DATES: 1862-1918 INSTRUMENTATION: Orchestra NUMBER OF TRACKS: 16 NUMBER OF MOVEMENTS: 1 La Gondola Lugubre COMPOSER NAME: Franz Liszt COMPOSER DATES: 1811-86 INSTRUMENTATION: Piano NUMBER OF TRACKS: 2 NUMBER OF MOVEMENTS: 1 Lagrima COMPOSER NAME: Francisco Tarrega COMPOSER DATES: 1854-1909 INSTRUMENTATION: Guitar NUMBER OF TRACKS: 1 NUMBER OF MOVEMENTS: 1 Little Bird COMPOSER NAME: Edvard Grieg COMPOSER DATES: 1843-1907 INSTRUMENTATION: Piano NUMBER OF TRACKS: 2 NUMBER OF MOVEMENTS: 1 Lotus Flower COMPOSER NAME: Robert Schumann COMPOSER DATES: 1810-56 INSTRUMENTATION: Piano and Voice NUMBER OF TRACKS: 3 NUMBER OF MOVEMENTS: 1 Ma Maitresse COMPOSER NAME: Johannes Ockeghem COMPOSER DATES: c.1420-1495 INSTRUMENTATION: Chorus NUMBER OF TRACKS: 3 NUMBER OF MOVEMENTS: 1 Maria Stuarda Overture COMPOSER NAME: Donizetti COMPOSER DATES: 1797-1848 INSTRUMENTATION: Orchestra NUMBER OF TRACKS: 5 NUMBER OF MOVEMENTS: 1 Marriage of Figaro Overture COMPOSER NAME: Wolfgang Amadeus Mozart COMPOSER DATES: 1756-91 INSTRUMENTATION: Orchestra NUMBER OF TRACKS: 12 NUMBER OF MOVEMENTS: 1 Moonlight Sonata COMPOSER NAME: Ludwig van Beethoven COMPOSER DATES: 1770-1827 INSTRUMENTATION: Piano NUMBER OF TRACKS: 2 NUMBER OF MOVEMENTS: 3 Moro Lasso COMPOSER NAME: Carlo Gesualdo COMPOSER DATES: c.1560-1613 INSTRUMENTATION: Chorus NUMBER OF TRACKS: 5 NUMBER OF MOVEMENTS: 1 Musical Joke COMPOSER NAME: Wolfgang Amadeus Mozart COMPOSER DATES: 1756-91 INSTRUMENTATION: Orchestra NUMBER OF TRACKS: 5 NUMBER OF MOVEMENTS: 4 Night on Bald Mountain (excerpt) COMPOSER NAME: Modest Moussorgsky COMPOSER DATES: 1839-81 INSTRUMENTATION: Orchestra NUMBER OF TRACKS: 16 NUMBER OF MOVEMENTS: 1 Nuages Gris COMPOSER NAME: Franz Liszt COMPOSER DATES: 1811-86 INSTRUMENTATION: Piano NUMBER OF TRACKS: 2 NUMBER OF MOVEMENTS: 1 Overture (to Three Contretanz) COMPOSER NAME: Wolfgang Amadeus Mozart COMPOSER DATES: 1756-1791 INSTRUMENTATION: Orchestra NUMBER OF TRACKS: 6 NUMBER OF MOVEMENTS: 1 Pathetique Sonata COMPOSER NAME: Ludwig van Beethoven COMPOSER DATES: 1770-1827 INSTRUMENTATION: Piano NUMBER OF TRACKS: 2 NUMBER OF MOVEMENTS: 3 Pavanes, 2 COMPOSER NAME: Luis Milan COMPOSER DATES: 1500-61 INSTRUMENTATION: Guitar NUMBER OF TRACKS: 1 NUMBER OF MOVEMENTS: 2 pieces Penseroso COMPOSER NAME: Franz Liszt COMPOSER DATES: 1811-86 INSTRUMENTATION: Piano NUMBER OF TRACKS: 2 NUMBER OF MOVEMENTS: 1 Polonaise in A Major COMPOSER NAME: Frederic Chopin COMPOSER DATES: 1810-49 INSTRUMENTATION: Piano NUMBER OF TRACKS: 2 NUMBER OF MOVEMENTS: 1 Prelude, Alamand, Courante, Minuet COMPOSER NAME: Henry Purcell COMPOSER DATES: 1659-95 INSTRUMENTATION: Harpsichord NUMBER OF TRACKS: 2 NUMBER OF MOVEMENTS: 4 Prelude in C# Minor COMPOSER NAME: Frederic Chopin COMPOSER DATES: 1810-49 INSTRUMENTATION: Piano NUMBER OF TRACKS: 2 NUMBER OF MOVEMENTS: 1 Prelude in Db Major COMPOSER NAME: Frederic Chopin COMPOSER DATES: 1810-49 INSTRUMENTATION: Piano NUMBER OF TRACKS: 2 NUMBER OF MOVEMENTS: 1 Prelude in Eb Major COMPOSER NAME: Frederic Chopin COMPOSER DATES: 1810-49 INSTRUMENTATION: Piano NUMBER OF TRACKS: 3 NUMBER OF MOVEMENTS: 1 Promenade COMPOSER NAME: Modest Moussorgsky COMPOSER DATES: 1839-81 INSTRUMENTATION: Orchestra NUMBER OF TRACKS: 7 NUMBER OF MOVEMENTS: 1 Reverie COMPOSER NAME: Claude Debussy COMPOSER DATES: 1862-1918 INSTRUMENTATION: Piano NUMBER OF TRACKS: 2 NUMBER OF MOVEMENTS: 1 Ricercar, 3-Part, from the Musical Offering COMPOSER NAME: Johann Sebastian Bach COMPOSER DATES: 1685-1750 INSTRUMENTATION: Chamber Ensemble NUMBER OF TRACKS: 3 NUMBER OF MOVEMENTS: 1 Roman de Fauvel COMPOSER NAME: Anonymous COMPOSER DATES: (Middle Ages) INSTRUMENTATION: Voices NUMBER OF TRACKS: 3 NUMBER OF MOVEMENTS: 1 Rooks in the Elm COMPOSER NAME: Ludwig van Beethoven COMPOSER DATES: 1770-1827 INSTRUMENTATION: Chamber Ensemble (arr.) NUMBER OF TRACKS: 6 NUMBER OF MOVEMENTS: 1 Royal Fireworks Overture COMPOSER NAME: George Frideric Handel COMPOSER DATES: 1685-1759 INSTRUMENTATION: Orchestra NUMBER OF TRACKS: 12 NUMBER OF MOVEMENTS: 1 Sacrae Symphony COMPOSER NAME: Giovanni Gabrielli COMPOSER DATES: c.1557-1612 INSTRUMENTATION: Chamber Ensemble (brass) NUMBER OF TRACKS: 4 NUMBER OF MOVEMENTS: 1 Scherzo in B Minor COMPOSER NAME: Frederic Chopin COMPOSER DATES: 1810-49 INSTRUMENTATION: Piano NUMBER OF TRACKS: 2 NUMBER OF MOVEMENTS: 1 Severo Andante COMPOSER NAME: George Frideric Handel COMPOSER DATES: 1685-1759 INSTRUMENTATION: orchestra NUMBER OF TRACKS: 3 NUMBER OF MOVEMENTS: 1 Severo Overture COMPOSER NAME: George Frideric Handel COMPOSER DATES: 1685-1759 INSTRUMENTATION: Orchestra NUMBER OF TRACKS: 5 NUMBER OF MOVEMENTS: 1 Sleeping Beauty (excerpt) COMPOSER NAME: Peter Ilyich Tchaikovsky COMPOSER DATES: 1840-93 INSTRUMENTATION: Orchestra NUMBER OF TRACKS: 21 NUMBER OF MOVEMENTS: 1 Sonata in Bb Major COMPOSER NAME: Domenico Scarlatti COMPOSER DATES: 1685-1757 INSTRUMENTATION: Keyboard NUMBER OF TRACKS: 2 NUMBER OF MOVEMENTS: 1 Sonata in D Minor COMPOSER NAME: Domenico Scarlatti COMPOSER DATES: 1685-1757 INSTRUMENTATION: Keyboard NUMBER OF TRACKS: 2 NUMBER OF MOVEMENTS: 1 Sonata in G Major COMPOSER NAME: Domenico Scarlatti COMPOSER DATES: 1685-1757 INSTRUMENTATION: Keyboard NUMBER OF TRACKS: 2 NUMBER OF MOVEMENTS: 1 Spanish Romance COMPOSER NAME: Anonymous COMPOSER DATES: (19th Century) INSTRUMENTATION: Guitar NUMBER OF TRACKS: 1 NUMBER OF MOVEMENTS: 1 Spring, from the Seasons COMPOSER NAME: Antonio Vivaldi COMPOSER DATES: c.1678-1741 INSTRUMENTATION: Orchestra NUMBER OF TRACKS: 9 NUMBER OF MOVEMENTS: 1 St. Francis Sermon to the Birds COMPOSER NAME: Franz Liszt COMPOSER DATES: 1811-86 INSTRUMENTATION: Piano NUMBER OF TRACKS: 2 NUMBER OF MOVEMENTS: 1 Symphony #1, complete COMPOSER NAME: Joseph Haydn COMPOSER DATES: 1732-1809 INSTRUMENTATION: Orchestra NUMBER OF TRACKS: 6 NUMBER OF MOVEMENTS: 3 Symphony #5, Mvt. 1 COMPOSER NAME: Ludwig van Beethoven COMPOSER DATES: 1770-1827 INSTRUMENTATION: Orchestra NUMBER OF TRACKS: 12 NUMBER OF MOVEMENTS: 1 Syrinx COMPOSER NAME: Claude Debussy COMPOSER DATES: 1862-1918 INSTRUMENTATION: Flute NUMBER OF TRACKS: 1 NUMBER OF MOVEMENTS: 1 Terra Tremuit COMPOSER NAME: William Byrd COMPOSER DATES: 1543-1623 INSTRUMENTATION: Chorus NUMBER OF TRACKS: 5 NUMBER OF MOVEMENTS: 1 The Entertainer (The Sting) COMPOSER NAME: Scott Joplin COMPOSER DATES: 1868-1917 INSTRUMENTATION: Piano NUMBER OF TRACKS: 2 NUMBER OF MOVEMENTS: 1 The Lark String Quartet, mvt. 1 COMPOSER NAME: Joseph Haydn COMPOSER DATES: 1732-1809 INSTRUMENTATION: Strings and Flute (arr.) NUMBER OF TRACKS: 8 NUMBER OF MOVEMENTS: 1 Three Preludes for Solo Guitar COMPOSER NAME: Francisco Tarrega COMPOSER DATES: 1854-1909 INSTRUMENTATION: Guitar NUMBER OF TRACKS: 1 NUMBER OF MOVEMENTS: 3 pieces Trauermarsch COMPOSER NAME: Ludwig van Beethoven COMPOSER DATES: 1770-1827 INSTRUMENTATION: Orchestra NUMBER OF TRACKS: 10 NUMBER OF MOVEMENTS: 1 Traumerei COMPOSER NAME: Robert Schumann COMPOSER DATES: 1810-56 INSTRUMENTATION: Piano NUMBER OF TRACKS: 2 NUMBER OF MOVEMENTS: 1 Two Pieces for Solo Guitar COMPOSER NAME: Dionisio Aguado COMPOSER DATES: 1784-1849 INSTRUMENTATION: Guitar NUMBER OF TRACKS: 1 NUMBER OF MOVEMENTS: 2 pieces Two Pieces for Solo Guitar COMPOSER NAME: Matteo Carcassi COMPOSER DATES: 1792-1853 INSTRUMENTATION: Guitar NUMBER OF TRACKS: 1 NUMBER OF MOVEMENTS: 2 pieces Two Pieces for Solo Guitar COMPOSER NAME: Ferdinando Carulli COMPOSER DATES: 1770-1841 INSTRUMENTATION: Guitar NUMBER OF TRACKS: 1 NUMBER OF MOVEMENTS: 2 pieces Two Pieces for Solo Guitar COMPOSER NAME: Niccolo Paganini COMPOSER DATES: 1782-1840 INSTRUMENTATION: Guitar NUMBER OF TRACKS: 1 NUMBER OF MOVEMENTS: 2 pieces Two Pieces for Solo Guitar COMPOSER NAME: Fernando Sor COMPOSER DATES: 1778-1839 INSTRUMENTATION: Guitar NUMBER OF TRACKS: 1 NUMBER OF MOVEMENTS: 2 pieces Valse I COMPOSER NAME: Franz Schubert COMPOSER DATES: 1797-1828 INSTRUMENTATION: Keyboard NUMBER OF TRACKS: 2 NUMBER OF MOVEMENTS: 1 Valse II COMPOSER NAME: Franz Schubert COMPOSER DATES: 1797-1828 INSTRUMENTATION: Keyboard NUMBER OF TRACKS: 2 NUMBER OF MOVEMENTS: 1 Vers La Flamme COMPOSER NAME: Alexander Scriabine COMPOSER DATES: 1872-1915 INSTRUMENTATION: Piano NUMBER OF TRACKS: 2 NUMBER OF MOVEMENTS: 1 Vexations COMPOSER NAME: Erik Satie COMPOSER DATES: 1866-1925 INSTRUMENTATION: Piano NUMBER OF TRACKS: 2 NUMBER OF MOVEMENTS: 1 Waltz COMPOSER NAME: Luigi Legnani COMPOSER DATES: 1790-1877 INSTRUMENTATION: Guitar NUMBER OF TRACKS: 1 NUMBER OF MOVEMENTS: 1 Waltz in F COMPOSER NAME: Frederic Chopin COMPOSER DATES: 1810-49 INSTRUMENTATION: Piano NUMBER OF TRACKS: 2 NUMBER OF MOVEMENTS: 1 Waltz No. 1 COMPOSER NAME: Johannes Brahms COMPOSER DATES: 1833-97 INSTRUMENTATION: Piano Four Hands NUMBER OF TRACKS: 4 NUMBER OF MOVEMENTS: 1 Waltz No. 2 COMPOSER NAME: Johannes Brahms COMPOSER DATES: 1833-97 INSTRUMENTATION: Piano Four Hands NUMBER OF TRACKS: 4 NUMBER OF MOVEMENTS: 1 Waltz No. 3 COMPOSER NAME: Johannes Brahms COMPOSER DATES: 1833-97 INSTRUMENTATION: Piano Four Hands NUMBER OF TRACKS: 4 NUMBER OF MOVEMENTS: 1 Waltz No. 4 COMPOSER NAME: Johannes Brahms COMPOSER DATES: 1833-97 INSTRUMENTATION: Piano Four Hands NUMBER OF TRACKS: 4 NUMBER OF MOVEMENTS: 1 Waltz No. 5 COMPOSER NAME: Johannes Brahms COMPOSER DATES: 1833-97 INSTRUMENTATION: Piano Four Hands NUMBER OF TRACKS: 4 NUMBER OF MOVEMENTS: 1 Waltz No. 6 COMPOSER NAME: Johannes Brahms COMPOSER DATES: 1833-97 INSTRUMENTATION: Piano Four Hands NUMBER OF TRACKS: 4 NUMBER OF MOVEMENTS: 1 Well-Tempered Clavier, Book 1 COMPOSER NAME: Johann Sebastian Bach COMPOSER DATES: 1685-1750 INSTRUMENTATION: Keyboard NUMBER OF TRACKS: 4 NUMBER OF MOVEMENTS: 24 Preludes & 24 Fugues Zarathustra (2001: A Space Odyssey) COMPOSER NAME: Richard Strauss COMPOSER DATES: 1864-1949 INSTRUMENTATION: Orchestra NUMBER OF TRACKS: 26 NUMBER OF MOVEMENTS: 1 ********************************************************** ********************************************************** ** CHAPTER 5 ** ** Prose Descriptions of Selected Pieces. ** ********************************************************** ********************************************************** Here are prose descriptions of a few of the pieces in the Romeo Music MIDI Editions. Capricho Arabe for Guitar Solo, F. Tarrega. Francisco Tarrega was one of the greatest guitar composers of all time, and Capricho Arabe is perhaps his most famous solo. In our recording, we've used pedal to simulate the sustained effect of the acoustic guitar. Guitar harmonics were transposed (or not) to give the best musical result for playback with a single acoustic guitar patch. With a little editing, other sounds work too, like harp, vibes, some synth "bell" patches, etc. Sonata for Flute and Harpsichord in F, W.A. Mozart. Mozart composed this flute sonata and five others when he was only eight years old! Maybe even more impressive is that he could play the harpsichord part at that age, too. For playback, use a fast-attack flute -- this is especially important for the trills to come out. We left in the velocity values for the harpsichord part, in case someone out there wants to use piano. A real harpsichord, of course, is not "velocity sensitive." If the un-authenticity of this bugs you, just turn off velocity sensitivity for your harpsichord patch, or flatten out the harpsichord velocities with your sequencer. We've also slightly overlapped (for legato) some notes in the flute, which of course a real flute can't do. But this makes for a more realistic playback given the response of most MIDI flutes. The flute part is on Channel 1 and the harpsichord part is on Channel 2. Piano Sonata, Opus 101, L.v. Beethoven. This is the first of Beethoven's "great five" last sonatas, composed in 1816. The second movement has tremendous energy, and the last movement ends with a really terrific fugue section. Technologically there's not much to say -- it's a piano solo sent out over Channel 1. Since your piano patch may respond to the MIDI velocity curve differently than ours (we used a Kurzweil 250), you may want to make the loud parts softer, and vice versa. The piece is great, and this concert performance is top notch. Note that we've made the musical decision to put the third and fourth movements together in one file. Chaconne, J.S. Bach. Bach's D minor Chaconne has been called the greatest single movement in the history of music. It has earned the devotion of musicians in every period since its composition: Mendelssohn, Schumann, Brahms, Busoni, Stokowski, Segovia, and countless others have published versions of the piece. The piece opens with a statement of the Sarabande theme followed by twenty-nine variations, the first fifteen of which are in D minor, the next nine in D major, and the final five once again in D minor. It's awesome -- there's not much else to say. Although many different patches will work (which is true for a lot of Bach's music), a solo nylon string guitar will probably sound best. All music is sent out over MIDI Channel 1. Three Nocturnes, Opus 9, F. Chopin. The Nocturnes of Opus 9 are genuinely beautiful piano pieces in true 19th century Romantic tradition, and the second of the three remains among the best known of all Chopin works. Although played and MIDI-recorded with a grand piano patch, you can have fun editing them into concerto-like string and piano pieces. Also, the MIDI velocity comments about the Beethoven Sonata apply here as well. All music is sent out over MIDI Channel 1. Piano Concerto #28, K382, W.A. Mozart. This wonderful concerto is a "concert rondo" where all three movements (fast-slow-fast) are played continuously as a large set of variations. It was one of Mozart's favorites when he played on his "European Tours." The track assignments are as follows: Channel 1 Flute; Channel 2 Oboe; Channel 3 French Horn; Channel 4 Trumpet; Channel 5 Timpani; Channel 6 Piano; Channel 7 1st Violin arco; Channel 8 2nd Violin arco; Channel 9 Viola arco; Channel 11 Cello arco; Channel 12 Bass arco; Channels 13-16 Pizzicatto Strings. This sounds great on our setup; you may need to tweak it on yours. Specifically, on your system the horns and oboes may be loud; the piano may be soft. Use fast attack for winds and strings, especially so the trills can come out. Pedal was used in certain tracks that would not ordinarily have pedal (e.g., strings) to trigger alternate releases, in all cases about a 2-second fade. Have fun! ********************************************************** ********************************************************** ** CHAPTER 6 ** ** Overview of "Classical" Style Periods. ** ********************************************************** ********************************************************** This chapter is a brief description of the different musical style periods most commonly referred to as "Western Classical Art Music." This might be helpful for selecting pieces for use with film, video, or multimedia presentations; also, feel free to use this information in your own teaching materials, products, liner notes, and so on, in accordance with our License Agreement! MIDDLE AGES. 1100-1450. Main Composers: Machaut, Landini. Main Musical Characteristics and Effects. Vocal polyphonic sacred music, based on chant; non-metrical rhythm; complex compositional devices -- canon, diminution. Accompanied solo secular song. RENAISSANCE. 1450-1600. Main Composers: Josquin des Prez, Palestrina, di Lasso, Byrd. Main Musical Characteristics and Effects. Polyphony, bass voice present, use of modes; mostly small vocal ensemble music; lute and keyboard; gentle rhythmic flow; harmony occurs, a consequence of linear writing. Restrained and intimate. BAROQUE. 1600-1750. Main Composers: Monteverdi, Corelli, Vivaldi, Purcell, Lully, Telemann, Rameau, Bach, Handel. Main Musical Characteristics and Effects. Change to major-minor system; systemized harmony; solo singing important; virtuoso singing; homophony introduced and existing along with polyphony; equal temperament; modulation; organ and harpsichord, plus instrumental music other than keyboard; much use of strict metrical rhythm; terraced dynamics; basso continuo. Consistent mood throughout sections of music; some works in large dimensions. CLASSICAL. 1750-1825. Main Composers: Mozart, Haydn, Gluck, J. C. Bach, C. P. E. Bach, early Beethoven. Main Musical Characteristics. Piano replacing harpsichord; distinction between orchestral and chamber music; gradual crescendo-decrescendo; cadenza; clearly defined formal schemes; music largely homophonic; melodies often built out of short melodic fragments. Balanced, neat, polished, planned, in good taste. ROMANTIC. 1825-1900 Main Composers: Middle and Late Beethoven, Schubert, Chopin, Liszt, Mendelssohn, Berlioz, Schumann, Franck, Verdi, Brahms, Tchaikovsky, Dvorak, Mussorgsky, Rimsky-Korsakov, Rachmaninoff, Puccini, Wagner, Grieg, Elgar, R. Strauss, Mahler, Sibelius. Main Musical Characteristics. Cyclical treatment of themes; thematic transformation; music for virtuoso instrumentalists; largely homophonic; rubato; sudden and dramatic changes of mood and dynamic level; motives; rich harmony with many chromatic alterations; large orchestra; long compositions; new timbres; piano very important. Frequent and dramatic changes of mood; large, powerful, rich, luscious quality of sound; highly expressive; often free and unplanned in sound; climaxes of feeling and volume. IMPRESSIONISM. 1890-1920. Main Composers: Debussy, Ravel. Main Musical Characteristics. Colorful orchestration; harp prominent; whole-tone scale. Atmospheric, delicate, sensitive. TWENTIETH CENTURY. 1900-. Main Composers: Stravinsky, Schoenberg, Bartok, Berg, Ives, Copland, Shostakovich, Prokofiev, Britten, Menotti, Vaughan Williams, Hindemith, Poulenc, Milhaud, Villa-Lobos, Webern, Penderecki, Cage, Cowell. Main Musical Characteristics. Counterpoint again significant; new chord patterns; polytonality; atonality; tone-row technique; polyrhythms; mixed meters; increased dissonance; some return to modes; interest in non-conventional timbres; dissonance often unresolved; chamber music again significant. Restrained, balanced, concise; some music primitive-sounding; use of tonal "effects." ********************************************************** ********************************************************** ** CHAPTER 7 ** ** Musical Terms Glossary. ** ********************************************************** ********************************************************** This chapter is a brief set of primarily "non-technical" definitions of various musical terminology. Feel free to use this information in your own teaching materials, products, liner notes, and so on, in accordance with our License Agreement! ACCIDENTAL. A sharp, flat, or natural not appearing in the key signature; usually intended to be valid only in the measure in which it occurs. ARIA. A composition for solo voice with accompaniment in an opera, oratorio, or cantata, etc. Arias for more than one singer are called duets, trios, etc. ARPEGGIO. The sounding of the notes of a chord in succession, rather than simultaneously. ATONALITY. Absence of any perceptible tonal center. CADENCE. A musical point of articulation, indicating the end of a phrase, section, or of an entire composition. The term is used both for the articulation itself ("there is a cadence in measure 34") and for the means of achieving the articulation ("an authentic cadence"). CANON. The duplication, over an extended period of time, of musical material first presented in one voice in one or even more following voices. The term is also used to denote a composition in which this device is the most prominent technique. CHORD. A sonority consisting of at least three different pitches sounded simultaneously. In practice, the term is often applied to some two-note sonorities as well, especially when they are doubled (e.g., C-E-C). It is not necessary that the simultaneity be absolute (e.g., a chord may be given in the form of an arpeggio). CHROMATIC. A tone or tones outside the basic scale of a composition. The chromatic scale consists of all twelve tones of the octave sounded in order, ascending or descending. CODA. The concluding section of a movement. CONCERTO. [1] From about the beginning of the 1700s, a composition for one or more featured solo instruments with orchestral accompaniment. [2] Some uses of the word indicate a piece for solo keyboard which simulates the concerto style (e.g., J.S. Bach's Italian Concerto for solo keyboard). CONSONANCE. In any given style, an interval giving an impression of stability and repose, often falling within the natural overtone series of the chord root. COUNTERPOINT. The combination of two or more melodic lines simultaneously; or, when called "contrapuntal," a passage in which two or more voices have independent melodic interest. DIATONIC. Pertaining to the basic (usually seven-note) scale of a composition. DISSONANCE. In any given style, an interval giving an impression of instability, often falling outside the natural overtone series of other prominent simultaneous notes. ENHARMONIC. Notes of the same pitch, but with different notation. For example, A# and Bb are said to be "enharmonic equivalents." FORM. The structure of a piece of music, or the arrangement of its parts in some order. Often the elements of form are visually and verbally represented (e.g., ABA; exposition, development, recapitulation). FUGUE. A tonal composition in imitative texture, usually based on a single theme or "subject." There are fugues for as few as two voices and for as many as six or even more. Most fugues alternate presentations of the subject with episodes. HARMONY. The "simultaneous" aspect of music, i.e., the way in which chords are sounded or alluded to in a musical texture. Often used in contrast to the word counterpoint, although all music contains both harmonic and contrapuntal elements, interacting in various complex ways. KEY. In tonal music, the major or minor triad serving as tonal center for a composition or movement. Keys are referred to by the letter name of the triad root, plus the qualification major or minor (e.g., a quartet in D minor, a symphony in Eb major). KEY SIGNATURE. The sharps or flats needed to produce the proper scale of a key, and usually placed at the beginning of each staff, directly after the clef. MAJOR. Triads which have a perfect fifth and a major third above the root. Keys which have a major triad as tonic. MEASURE. The music contained between one bar line and the next. When, as is usually the case in music employing meter, the meter remains unchanged, the measure is a temporal unit of music. MELODY. A succession of tones having unity and hence heard as a complete statement. A melody may be either a complete composition in itself, or may be a constituent element in a larger work. METER. A regular pattern of strong and weak rhythmic pulses. MINOR. Triads which have a perfect fifth and a minor third above the root. Keys which have a minor triad as tonic. MODULATION. In tonal music, a temporary or permanent change of tonal center from one key to another. MOVEMENT. A complete, self-contained composition that sometimes serves as a part of a larger work consisting of two or more such units. NOTE. A graphic sign indicating a musical sound, or tone. The word is regularly if somewhat loosely used to refer to the sound itself. POLYPHONY. A general term for music in which different pitches are sounded simultaneously. Sometimes loosely used for counterpoint. QUARTET. A piece for four singers or players, with or without accompaniment; a common example is the string quartet, a piece scored for two violins, viola, and cello. RHYTHM. Anything that pertains to the temporal aspect of music. SCALE. An arrangement, with duplications removed and appropriate transpositions made to the same root and octave, of the pitches used in a composition. In most music, pitches occur that are clearly outside what is perceived as the primary scale of the composition; these are considered chromatic tones, and not part of the basic scale. SCORE. The writing or printing of music so that notes intended to sound simultaneously are vertically aligned. More generally, a graphic representation of the roles of all the performers needed for the execution of a composition, as contrasted with parts. SONATA. Literally, a "sound piece," or something played, as opposed to a composition involving voices. TEMPO. The speed or pace of a piece of music. THEME. A piece of musical material, often but not always melodic in nature, that serves as an important element in a composition. In normal usage, theme suggests a larger entity than motive, and in practice, a theme is often made up of several motives. TIMBRE. The specific quality or color of the sounds made by a particular instrument (e.g., a clarinet timbre, a muted timbre, etc.). TRIAD. A three-note sonority consisting of a basic tone or root, a tone a third above the root, and a tone a fifth above the root. VARIATION. In general, the presentation of already heard material with some elements changed and some retained, so that the new presentation is heard as related to the original. VIRTUOSO. A performer having extraordinary technical skill. Virtuosic music is that in which the display of such skill is an important element. ********************************************************** ********************************************************** ** CHAPTER 8 ** ** Multimedia Questions and Answers. ** ** by Jim Romeo ** ********************************************************** ********************************************************** Organization of the Chapter: 1. What is multimedia? 2. What isn't multimedia? 3. Now that I know what multimedia is, what's next? 4. What are some technological issues in preparing multimedia productions? 5. Why use Romeo Music for multimedia productions 1. What is multimedia? ************************************************** I'm sure you know the old joke about the world's greatest word processor. It's portable, displays any point size, prints any language, user interface so simple a child can learn it, allows creation of any graphics, has unlimited undo, and has capacity for an almost infinite number of "bites." The word processor being described is the common pencil. The subject of multimedia is often intimidating for many people. In fact, some people make quite a bit of money by KEEPING the subject intimidating, thereby insuring their status as "experts." The word itself, despite any pompous claims to the contrary, means nothing more than what it obviously is intended to mean -- the combination of many different (multi) ways of communicating (media). With this definition, in an update to the old joke, I can propose the ultimate multimedia machine. It's capable of graphically illustrating information, its user interface accepts spoken input in any accent, can alter the presentation in real time to fit the user, has an information database of incredible variety, built in music and sound effects, capable of 3-D demonstrations, and can output in both printed form and in spoken language. This remarkable multimedia machine is, of course, a human being. Any time you engage in conversation, you're a multimedia machine. You combine many different (multi) ways of communicating (media) to get your message across. When you gesture with your hands and change your facial expression to emphasize a point, you're using graphics; when you snap your fingers, pound the table, whistle, hum the Twilight Zone theme when someone weird enters the room, or put on your favorite record during dinner, you're using sound effects and music; when you rearrange the salt and pepper and sugar at the dinner table to explain how a friend's car accident happened, you're using a 3-D demonstration. And so on. If you want the best possible example of multimedia, just reflect on how you yourself have communicated in the last few hours -- that's multimedia. 2. What isn't multimedia? ************************************************** Any system that allows you to communicate and/or communicates with you in multiple ways (text, graphics, music, visual movement, etc.) is a multimedia system. Notice that computer technology is not necessarily a part of this definition. Anyone who remembers multimedia events of the 1960s or has seen a Mozart opera knows that computer technology is not necessary for a multimedia event. In a sense, any TV show or movie is a multimedia event. If you go to a library and read newspaper and magazine accounts from the early part of this century, you'll realize what a powerful and dramatic impact it had when sound was added to film. The ability of this new combination of sound, spoken word, and moving images to communicate was incredibly powerful. Many people today will say that "a TV show is not multimedia." Well, it is. What these people should be saying is this: "TV shows and videos are not the best examples of multimedia available today." And that is true, because the advent of computer technology has added a new and powerful element to multimedia presentations -- interactivity. Sound being added to film was so powerful that today when we say "movie" we usually mean "film plus sound." There are few movies being made today anywhere in the world without sound (although there are some excellent ones). Similarly, interactivity is so powerful that in a short amount of time we are starting to EXPECT interactivity when we speak of multimedia. What is interactivity? The answer is simple -- it's the ability of a presentation to modify, expand, or contract itself based on the input it receives. Just go back to our "human multimedia machine." If you're talking and the user seems to be impatient, you speed up the presentation; if the listener/user seems lost, you slow down, offer more detailed explanations; maybe you draw a picture if you need to; if asked a question, even a somewhat irrelevant one, you're capable of sidetracking, answering, and then you can either stay with the new subject if the user/listener wants to, or you can return and pick up the old topic where you left off. That's interactivity. 3. Now that I know what multimedia is, what's next? ************************************************** Just like having a word processor doesn't automatically turn someone into a good writer, having multimedia tools won't automatically turn anyone into a good multimedia producer, despite all the hype. However, we probably all have a lot more creativity in us than we usually have the opportunity to express, and the latest computer multimedia tools do give us a way of tapping into that creativity. So, what's next? Whether your computer of choice is a PC, a Macintosh, an Atari, or an Amiga, there is a lot of multimedia tools for you to use. There are many programs for graphics, animation, video, and music, as well as complete interactive development environments. See some demos, make some purchases. Start out with a few prepackaged presentation materials, and edit them to fit your needs. After you see how things work, you may want to branch out and create your own presentations from scratch. Romeo Music is committed to providing you with the absolute best music materials for use in your multimedia presentations. The files on this disk are an example of that. For suggestions on how to use the files with your multimedia presentations, read the rest of this article. Then, start experimenting! 4. What are some technological issues in preparing multimedia productions? ************************************************** Anyone who assembles a multimedia production will need to use music somewhere, in some way. They may want to use music in audio format (e.g., cassettes, CDs), or in digital format (e.g., DATs, wave files on disk), or they may want to use music in MIDI format. If you're using MIDI files, you'll probably be using them in one of three ways: - either you'll make an audio recording of the files (possibly after customizing them in some way), and then use the audio recording in your multimedia presentation, or - you'll use a multimedia presentation environment that can play wave files (i.e., samples) from your hard disk, and use your MIDI files to create the wave file recordings (e.g., SND resources in Hypercard), or - you'll use the MIDI files directly from a multimedia presentation environment that can play MIDI files (e.g., recent DOS/Windows releases). In each case you'll need a MIDI interface, sound module, etc., but in the first two cases you won't need to have it available when someone else uses your presentation; in the third case you will. To make the best, most effective technological decision, the rules of thumb are clear: always keep in mind the final delivery system for your presentation, and keep things as simple as possible. I know that's pretty general, so if you need more information, or you'd like help with your multimedia presentation, give us a call any time at 617-254-9109. Ask for the Director of Products, say you read this article, and ask any question you might have. By the way, note that in all cases you'll need to have an audio playback system. There are obviously many solutions here, from your home audio amp/speakers to high-end pro-audio systems for playback in large auditoriums. Probably the best, most practical solution for desktop presentations is a set of good self-powered speakers. These are available in a wide price range--Roland sells a great little unit called the CS-10 Stereo Micro Monitor. 5. Why use Romeo Music for multimedia productions? ************************************************** We've worked hard to make our Romeo Music MIDI Editions the largest, most professional, and most cost-effective product line around. Any one of our MIDI files is perfectly adaptable for use in multimedia productions. In addition, our specialized product collection -- The Romeo Music for Multimedia Series -- comes with music in every format. Romeo Music International has been involved with multimedia productions for decades. We're not new to this field. In 1978 the Lansing Star reviewed a series of Romeo Music multimedia productions by saying "At the conclusion of the last work, the audience responded enthusiastically, for several curtain calls. Those who attended this rare musical experience shared an event they will not soon forget." A BG News Reviewer wrote of another multimedia performance in Ohio in 1979 "In this multimedia event the music melded perfectly with wheeling stars and the inky blue of the universe, as an electronic tape and slide show emphasized the music's mood." In 1991, over a decade later, Romeo Music created the Voice of God for the Blake Edwards movie Switch, and the Boston Globe wrote "The final sound design for the Purgatory scene is downright heavenly." We've been creating music for multimedia events for nearly two decades now, from stage to TV to video to computer to major motion pictures, and all of our experience is brought to bear whenever we create our music and our files. Check out, elsewhere in this document, our excellent License Agreement -- it's the best in the business. And feel free to give us a call at 617-254-9109 for more information. ********************************************************** ********************************************************** ** CHAPTER 9 ** ** Order Information. ** ********************************************************** ********************************************************** We have thousands of classical pieces of music entered-- over seven million notes. Whether you're a home enthusiast, music student or professor, composer, performer, multimedia producer, novice or expert, or any combination of the above, we've got the music for you! TO ORDER Call 1-800-852-2122 International Call 1-617-254-9109 ***************************************** *** VISA AND MASTERCARD ACCEPTED! *** ***************************************** Or send check or money order to: Romeo Music International 214 Lincoln Street, Suite 104 Allston, MA 02134 USA AVAILABLE FOR MAC, IBM, ATARI, AMIGA! REMEMBER TO SPECIFY FORMAT WHEN ORDERING! SHIPPING: Add $3.50. MA residents add 5% sales tax. THANK YOU FOR YOUR ORDER! HAVE ANY QUESTIONS? GIVE US A CALL! ********************************************************** ********************************************************** ** CHAPTER 10 ** ** Closing Remarks: Some Info on RMI. ** ********************************************************** ********************************************************** ********************************************************* INTRODUCTION Hi! Thank you for your interest in our products, and for reading this far in our book. This chapter is really irrelevant, and you can skip over it if you like. It just has some information and history about RMI, and a few other topics (selling us files, wrong note policy, etc.). Romeo Music International has over 7 million musical notes entered in MIDI file format. And we sell our files in IBM, Macintosh, Atari, and Amiga formats. We have a large organization creating our MIDI files. We've been entering and editing MIDI files for over three years now continuously. We have a Senior Editor, who has two Master Degrees (Music Theory and Music History) and a Ph.D. in Music from Harvard University. We have an Editorial Board -- every file is reviewed TWICE (by two different people) before it's offered for sale. We have a rotating team of 12 Music Data Enterers (we call them MDEs). The MDEs provide the initial input for our score format step-entered files. We have a rotating roster of Music Data Artists (MDAs), who we hire on a free-lance basis for various performance format and real-time MIDI file projects. Since we're located in Boston, we're fortunate to have many local concerts artists to employ, including musicians from New England Conservatory, Berklee College of Music, Harvard, MIT, and Boston Conservatory. But we also work with MDAs from all over the country. Finally, we're also interested in purchasing MIDI files from anyone who has files they'd like to sell. These purchases are made through our RMI MIDI Files Developer Program, which is explained later in this book. That's our team: Senior Editor, Editorial Board, MDEs, MDAs, and our Developer Program. At first, we created many of the files in our MIDI File Editions for our own use. You may have even heard some of these files already on TV! RMI creates a lot of music and sound effects for film, TV, and stage, everything from Las Vegas shows to the Blake Edwards movie Switch. Also, we're involved in music education, including both lectures on music technology and traditional classroom teaching. We've created a lot of files for these different activities, too. That's how this all started. When we offered our first product over three years ago, the response was overwhelming. And we've been quietly entering more pieces and selling our files for a long time ever since, usually direct to customers all around the world. In 1992, we started a large-scale world-wide release of our library of MIDI files. This book is part of that. ********************************************************* $$ FOR WRONG NOTES! We try as hard as we can to get our pieces 100% accurate. Let's say we did a great job, and had a 99.99% accuracy rate -- only one one-hundredth of one percent of the notes are wrong. Well, that sounds pretty impressive, but when you're talking about 7 million notes to begin with, that's still 700 wrong notes! So what we're saying up front is that we're only human, and despite our best efforts there will be some wrong notes in the classical files. But we do want our files to be perfect. So, let's work together to make that happen. Here's your incentive. If you order any one or more of our products, and include with your order a "mistake list" with mistakes you've found in other files you have ordered, we'll automatically take 5% off the price of your new order. We'll take the 5% off even if the wrong notes you found were already found by other people. By the way, here's how we'll address the issue of wrong notes. When we duplicate disks, we duplicate a lot at a time. So, we can't go in and change the wrong notes on already-duplicated disks. But we will include a list of known wrong notes with any disk we send out. And, of course, we'll fix those wrong notes before we duplicate the next batch. ********************************************************* $$ FOR FILES -- THE ROMEO MUSIC MIDI FILE DEVELOPER PROGRAM Even though we have millions of notes entered, we're always looking for more files. We're not releasing all of our files at once, and over the course of the next few years we will be releasing many more disks. Eventually we'll release all nine Beethoven Symphonies, many Mozart Piano Concerti, hundreds of art songs and opera arias, and so on. And even though we're entering notes in high volume, we're always looking to add more. If you want to be paid to supply us with MIDI Files, we have a MIDI Files Developer Program which you can apply for. There are two levels: (1) The RMI Partners Program, and (2) the RMI Artist Program. The application process is competitive, but if you have any interest in this at all, we encourage you to send for an application. We accept applications both from individuals and companies. All requests for applications MUST be accompanied by (1) a cover letter introducing yourself or your company, (2) a resume detailing your music and MIDI experience, (3) an equipment list (computer type, sequencer, etc.), and (4) a list of pieces you have entered and ready to sell, if any. ********************************************************* CONCLUSION: STAR TREK, AND RMI CLASSICAL MIDI FILES Here at RMI we imagine some futuristic scenario, where a Spock or a Counselor Troy is on some ship in another galaxy, and wants to access a Beethoven Sonata or a Bach Fugue. They call it up as digital data from the computer, and there it is. Here's the question -- who entered the data? We'd like to think that we did! We know that by the time the Star Trek era rolls around, every existing piece of music (and every book and picture as well), will be in computer-accessible format. Someone, between now and then, will have entered everything. Music MIDI files are unlike sheet music in one important aspect. Two written editions, even with the exact same notes, rhythms, and marks of expression, can look completely different. That's because music notation is an art. But score format MIDI data is abstract. Once someone enters in the Bach 15 Two-Part Inventions, for example, if they got all the notes and rhythms right, from a data-only perspective, there's never any reason for anyone else to enter them again. Ever. Of course, there's plenty of room for different performance format versions of pieces to be entered, but the score format MIDI URTEXT(TM) version, i.e., the version based on as exact a duplication as possible of the composer's original notation, is unique. And when scholars disagree on variations and interpretation of the URTEXT, these difference can be entered as well (as we have done with the Bach 3-Part Sinfonia #5, which we offer in two versions). So, we're busy entering our next 7 million notes, and we hope they'll be around for a long, long time! ********************************************************** ********************************************************** ** APPENDIX A ** ** General MIDI Patch Assignments. ** ********************************************************** ********************************************************** Every file in the Romeo Music MIDI Editions is a General MIDI file. Although General MIDI means a lot of things, in our files it means that patch changes have been inserted at the beginning of each track in the file. These patch changes will automatically set the MIDI channels to the "correct" patches, according to the General MIDI patch list. There are many advantages to this. The obvious one is that if you have a "General MIDI" synth (i.e., one where the manufacturer has set the patches according to the GM chart), you can just press PLAY on your sequencer and have every piece come out right. BUT THERE IS ANOTHER MAJOR ADVANTAGE AS WELL. We've saved the names of the tracks with each MIDI file in the Romeo Music MIDI editions. The names are there in every file. But not all sequencers read the track names when they open a MIDI file. So, if you have one of those sequencers, how will you know what instrument should be assigned to each track? Simple -- just check the initial patch, and compare it to the chart below! You'll know right away what the instrument should be. So, General MIDI patch changes can be very helpful even if you don't have a General MIDI instrument. The only risk is that you'll press PLAY in your sequencer, and if you don't have a General MIDI setup, then your MIDI rig will be reconfigured. You can avoid this by (1) deleting the patch changes from the file before you play the file, or (2) changing the patch numbers in the file to correspond to your setup. Here is the complete General MIDI list of patch numbers, and the corresponding musical/instrumental sound. We've shown the general organization of the sounds into groups of 8. **************************************************** 1-8 Piano Sounds **************************************************** 1 Acoustic Grand Piano 2 Bright Acoustic Piano 3 Electric Grand Piano 4 Honky-tonk Piano 5 Electric Piano 1 6 Electric Piano 2 7 Harpsichord 8 Clav **************************************************** 9-16 Pitched Percussion Sounds **************************************************** 9 Celesta 10 Glockenspiel 11 Music Box 12 Vibraphone 13 Marimba 14 Xylophone 15 Tubular Bells 16 Dulcimer **************************************************** 17-24 Organ Sounds **************************************************** 17 Drawbar Organ 18 Percussive Organ 19 Rock Organ 20 Church Organ 21 Reed Organ 22 Accordian 23 Harmonica 24 Tango Accordian **************************************************** 25-32 Guitar Sounds **************************************************** 25 Acoustic Guitar (nylon) 26 Acoustic Guitar (steel) 27 Electric Guitar (jazz) 28 Electric Guitar (clean) 29 Electric Guitar (muted) 30 Overdriven Guitar 31 Distortion Guitar 32 Guitar Harmonics **************************************************** 33-40 Bass Sounds **************************************************** 33 Acoustic Bass 34 Electric Bass (finger) 35 Electric Bass (pick) 36 Fretless Bass 37 Slap Bass 1 38 Slapp Bass 2 39 Synth Bass 1 40 Synth Bass 2 **************************************************** 41-48 Strings, and Timpani **************************************************** 41 Violin 42 Viola 43 Cello 44 Contrabass 45 Tremolo Strings 46 Pizzicato Strings 47 Harp 48 Timpani **************************************************** 49-56 String Ensembles and Choral **************************************************** 49 String Ensemble 1 50 String Ensemble 2 51 SynthStrings 1 52 SynthStrings 2 53 Choir Aahs 54 Voice Oohs 55 Synth Voice 56 Orchestra Hit **************************************************** 57-64 Brass Sounds **************************************************** 57 Trumpet 58 Trombone 59 Tuba 60 Muted Trumpet 61 French Horn 62 Brass Section 63 SynthBrass 1 64 SynthBrass 2 **************************************************** 65-72 Reed Sounds **************************************************** 65 Soprano Sax 66 Alto Sax 67 Teno Sax 68 Baritone Sax 69 Oboe 70 English Horn 71 Bassoon 72 Clarinet **************************************************** 73-80 Flute-type Sounds **************************************************** 73 Piccolo 74 Flute 75 Recorder 76 Pan Flute 77 Blown Bottle 78 Shakuhachi 79 Whistle 80 Ocarina **************************************************** 81-88 Synth Lead Sounds **************************************************** 81 Lead 1 (square) 82 Lead 2 (sawtooth) 83 Lead 3 (calliope) 84 Lead 4 (chiff) 85 Lead 5 (charang) 86 Lead 6 (voice) 87 Lead 7 (fifths) 88 Lead 8 (bass + lead) **************************************************** 89-96 Synth Pad Sounds **************************************************** 89 Pad 1 (new age) 90 Pad 2 (warm) 91 Pad 3 (polysynth) 92 Pad 4 (choir) 93 Pad 5 (bowed) 94 Pad 6 (metallic) 95 Pad 7 (halo) 96 Pad 8 (sweep) **************************************************** 97-104 Synth Effects **************************************************** 97 FX 1 (rain) 98 FX 2 (soundtrack) 99 FX 3 (crystal) 100 FX 4 (atmosphere) 101 FX 5 (brightness) 102 FX 6 (goblins) 103 FX 7 (echoes) 104 FX 8 (sci-fi) **************************************************** 105-112 Ethnic Instruments **************************************************** 105 Sitar 106 Banjo 107 Shamisen 108 Koto 109 Kalimba 110 Bagpipe 111 Fiddle 112 Shanai **************************************************** 113-120 Percussion Sounds **************************************************** 113 Tinkle Bell 114 Agogo 115 Steel Drums 116 Woodblock 117 Taiko Drum 118 Melodic Tom 119 Synth Drum 120 Reverse Cymbal **************************************************** 121-128 Sound Effects **************************************************** 121 Guitar Fret Noise 122 Breath Noise 123 Seashore 124 Bird Tweet 125 Telephone Ring 126 Helicopter 127 Applause 128 Gunshot **************************************************** ********************************************************** ********************************************************** ** APPENDIX B ** ** General MIDI Percussion Drum Note Assignments. ** ********************************************************** ********************************************************** NOTE: THE NUMBERS ARE NOT PATCH NUMBERS -- THEY ARE NOTE ASSIGNMENTS 60 = MIDDLE C THESE NOTE NUMBERS MUST BE SENT OUT OVER MIDI CHANNEL 10, WHICH IS RESERVED FOR PERCUSSION **************************************************** 35 Acoustic Bass Drum 36 Bass Drum 1 37 Side Stick 38 Acoustic Snare 39 Hand Clap 40 Electric Snare 41 Low Floor Tom 42 Closed Hi Hat 43 High Floor Tom 44 Pedal Hi-Hat 45 Low Tom 46 Open Hi-Hat 47 Low-Mid Tom 48 Hi-Mid Tom 49 Crash Cymbal 1 50 High Tom 51 Ride Cymbal 1 52 Chinese Cymbal 53 Ride Bell 54 Tambourine 55 Splash Cymbal 56 Cowbell 57 Crash Cymbal 2 58 Vibraslap 59 Ride Cymbal 2 60 Hi Bongo 61 Low Bongo 62 Mute Hi Conga 63 Open Hi Conga 64 Low Conga 65 High Timbale 66 Low Timbale 67 High Agogo 68 Low Agogo 69 Cabasa 70 Maracas 71 Short Whistle 72 Long Whistle 73 Short Guiro 74 Long Guiro 75 Claves 76 Hi Wood Block 77 Low Wood Block 78 Mute Cuica 79 Open Cuica 80 Mute Triangle 81 Open Triangle ********************************************************** ********************************************************** ** APPENDIX C ** ** A Complete Index Of Pieces ** ********************************************************** ********************************************************** We've standardized on file names of 8 characters in length, with a ".MID" file name extension. This decision was made because it makes our files compatible with every type of computer and hardware/software sequencer. As many of you know, we did have two sets of disks for a long time -- one with the 8-character names, and one with "Macintosh-style" names. But we found that many of the people with Macs still ordered the files with the 8-character names, because many of these people also had some other context where the longer file name would be a problem. For example, maybe they also have a hardware sequencer they want to use, or they have a friend with a PC. Another example is the use of music in multimedia productions -- there are many multimedia scripting and programming situations where having a predictable file name structure is handy. And, of course, it's easy enough to rename a file anything you want to. So, there you have it. In case you're not sure of what a file is by looking at its file name, what follows is a complete list, organized by product, of every file with its corresponding file name. Please note the following conventions we use in naming the files. These "rules" make it easier for you to understand the file names. Note that in some cases when we name a file these conventions are NOT followed because breaking "the rule" seemed smarter than following it. Here are the file name conventions: - Files usually begin with a 2- or 3-letter indication of the composer. e.g., LVB = Ludwig van Beethoven, FC = Frederic Chopin, JSB = Johann Sebastian Bach. Where two or more composers have the same initials, we often use the first letters of the last name for one of them. - Certain musical forms and types of pieces are often abbreviated in obvious 1- and 2- and 3-letter ways. Examples: SY = Symphony, SN = Sonata, CN = Concerto, PRE = Prelude, F = Fugue, etc. - In some cases, if a piece is an excerpt, the file name will end with an X. - Movements are usually indicated by an "M" followed by a number. M1 = Movement 1. - Sharp is sometimes indicated with a capital S; Flat is sometimes indicated with a capital B. Number is indicated with a capital N. Major is indicated with a capital M; Minor is indicated with the letters MIN. - Finally, of course, we try to include a relevant word or letter combination related to the title. For example, WAMJOKE1 is the first movement of Mozart's Musical Joke. FCWALTZ1 is Chopin's first waltz. Remember, single volumes are only $19.95 each. We also have big collections with big discounts! They are listed at the end. * NOTE THAT ALL PERFORMANCE FILES ARE MARKED WITH AN ASTERISK IN OUR CATALOG, AND IN THE LIST AT THE END OF THIS BOOK. BACH, J.S. --Four-Part Chorales #1-25 --The Art of Fugue #1, 11, 12, & 17 --Keyboard Music Fantasie in Cm Gigue from the 5th English Suite Gavotte in G from the 5th French Suite Allemande, Gavotte, & Polonaise from the 6th French Suite Aria from the Goldberg Variations Gigue from the 1st Partita Fantasia from the 3rd Partita --Well-Tempered Clavier, Book I, vol. 1 Preludes & Fugues, #1-12 --Well-Tempered Clavier Book I, vol. 2 Preludes & Fugues, #13-24 --Two-Part Inventions, complete, #1-15 --Three-Part Inventions, complete, #1-15 --Lute Suites complete, #1 & 2 --Italian Concerto, complete, mvts. 1-3 --The Musical Offering, complete Three-Part Ricercar Six-Part Ricercar Trio Sonata, mvts. 1-4 Enigma Canons, #1-8 Fuga Canonica Canon Perpetuus --Keyboard Concerto in Dm, complete, mvts. 1-3 --Organ Orgelbchlein, vol. 1, 23 mvts. --Organ Orgelbchlein, vol. 2, 22 mvts. --Greatest Organ Music, vol. 1 Prelude & Fugue BWV 536 Fantasia & Fugue BWV 542 Pastorale, complete, mvts. 1-4 --Greatest Organ Music, vol. 2 Toccata and Fugue in D Minor BWV 565 Passacaglia --Organ Trio Sonatas, vol. 1, 9 mvts. #1-3, BWV 525-527 --Organ Trio Sonatas, vol. 2, 9 mvts. #4-6, BWV 528-530 --Cello Suites, vol. 1, #1 & 2, 14 mvts. --Cello Suites, vol. 2, #3 & 4, 14 mvts. --Favorite Selections Jesu, Joy of Man's Desiring Chromatic Fantasy & Fugue, complete Siciliano from Flute Sonata #2 The Chaconne*, complete BEETHOVEN --Symphonic Collection, vol. 1 #1--mvts. 1 & 3 (xrpts) #2--mvt. 1 (xrpt) #3--Eroica, mvts. 1, 2, & 4 (xrpts) #4--mvt. 1 (xrpt) #5--mvts. 2, 3, & 4 (xrpts) #6--Pastoral, mvts. 1-5 (xrpts) #7--mvts. 1-4 (xrpts) #8--mvts. 1-3 (xrpts) #9--mvts. 1 & 2 (xrpts) mvt. 4 (3 xrpts) --Symphonic Collection, vol. 2 Symphony #5: mvt. 1, complete Eroica #3, mvt. 3, complete --Appassionata Piano Sonata, complete, mvts. 1-3 --Moonlight Piano Sonata, complete, mvts. 1-3 --Pathetique Piano Sonata, complete, mvts. 1-3 --Piano Sonata Opus 101 in A*, complete, mvts. 1-4 --Chamber Music Cavatina, Op. 130 Aria for woodwind duet Serenade, Op. 25, Entrata Cello Sonata in A, Scherzo (xrpt) Spring Violin Sonata, Op. 24 (2 xrpts) String Quartet Op. 18, #4, Menuetto --Lieder (Songs) The Free Man* Nature* The Rooks in the Elm Tree Aus Goethe's Faust Gretels Warnung An den fernen Geliebten (1 song) --Great Selections Six German Dances Trauermarsch for orchestra Fur Elise BRAHMS --Piano Music Ballade in Dm Six Waltzes (4 track) Intermezzo, Opus 119, #3 Capriccio, Opus 116, #3 --Organ Chorales, Op.122, complete, 11 mvts. --Great Selections Grosse Fugue in Ab Minor, for organ Madchenlied (Song)* Symphony #1, mvt.1 (xrpt) CHOPIN --Ballades Op. 23, in G Minor, complete Op. 38, in F Major (xrpt) Op. 47, in Ab Major (xrpt) Op. 52, in F Minor (xrpt) --Etudes Etude in C Major, Op. 10, No. 1 Etude in E Major, Op. 10, No. 3 Etude in C Minor, Op. 10, No. 12 (The Revolutionary Etude) Etude in F Minor, Posthumous Etude in Ab Major, Posthumous Etude in Db Major, Posthumous --Op. 9 Nocturnes*, complete Nocturne in Bb Minor Op. 9, No. 1 Nocturne in Eb Major Op. 9, No. 2 Nocturne in B Major Op. 9, No. 3 --13 Great Preludes Op. 28, #1-11, 15, 20 --Waltzes Valse in Ab Op. 70 Nr 2 Grande Valse Brillante in F, Op. 34 Nr 3 Valse in Ab Op. 69 Nr 1* Valse in C# Op. 64 Nr 2 --Favorite Selections Mazurka in F Polonaise in A, Op. 40, No. 1 Scherzo #1 in B Minor DEBUSSY --L'Enfant Prodigue Opera, orch. complete --La Damoiselle Elue Opera, orch. complete --Greatest Piano Music Rverie Arabesque #1 La fille aux cheveux de lin from Prludes La Cathdrale engloutie from Prludes Claire de Lune from Suite bergamasque The Little Shepard from Children's Corner Reflets Dans L'Eau from Images I (xrpt) Jardins sous la pluie from Estampes (xrpt) L'Isle Joyeuse (xrpt) HANDEL --Harpsichord Music The Harmonious Blacksmith, complete Allegro, from Suite 7 Gigue, from Suite 7 Air with Variations from Suite in Bb Major --Royal Fireworks Music, complete --Water Music Overture Air Boure Hornpipe Coro Finale --The Messiah ORCHESTRA. Sinfonia Overture AIR (Tenor). Every valley shall be exalted CHORUS. Hallelujah AIR (Soprano). I know that my Redeemer liveth AIR (Bass). The trumpet shall sound HAYDN --Symphony #1, complete, 3 mvts. --Great Selections The Lark, arr. mvt. 1 String Quartet Op. 72 #2 String Quartet Op. 76 #5 (II) String Quartet Op. 76 #5 (III) Piano Sonata in Eb Major, mvt. 1 Symphony #49, mvt. 2, Allegro di molto, (xrpt) JOPLIN --Ragtime Piano The Entertainer Maple Leaf Rag* Solace* Bethena LISZT --Piano Music Abschied En Reve La Gondola Lugubre Nuages Gris Penseroso St. Francis Preaching to the Birds Sonata in B Minor (several xrpts) --Great Selections Ess muss ein Wunderbares sein Oh! Quand Je Dors! Les Preludes (xrpt Finale) Mephisto Waltz (several xrpts) MACHAUT --Messe de Notre Dame, complete Kyrie I Christe Kyrie II Kyrie III Gloria Credo Sanctus Agnus Dei MENDELSSOHN --Favorite Music Barcarole Wedding March, Organ Wedding March, Full Arr. Songs Without Words, Op. 30, #4 Songs Without Words, Op. 30, #5 Songs Without Words, Op. 30, #6 Songs w/o Words, Op. 109, Cello & Piano MOUSSORGSKY --Great Selections Promenade from Pictures at an Exhibition Overture from Night on Bald Mountain (xrpt) The Great Gate of Kiev MOZART --Chamber Music Sonata for Flute & Harpsichord in F*, 3 mvts. String Trio, K563, Menuetto String Quartet, Adagio und Fugue, K546 --Piano Concertos Piano Concerto #1, K37, mvt. 1 (xrpt) Piano Concerto #21, K467, mvt. 2 (xrpt) Piano Concerto #23, K488, mvt. 1 (xrpt) Piano Concerto #27, K595, mvt. 3 (xrpt) Piano Concerto #28, K382, complete* --Piano Music Sonata in G, K283, complete, 3 mvts. Fantasy in D Minor, K397 Variations on "Lison Dormait", K264 --A Little Night Music, complete, mvts. 1-4 Allegro Romanze Menuetto Rondo --A Musical Joke, complete, mvts. 1-4 Allegro Menuetto Adagio Cantabile Presto --Symphony #40 in G Minor, complete Molto Allegro Andante Menuetto Finale --Overture and Three Contredanses for Orchestra, complete --Mozart's Theory Book, complete On-line text of entire book All 71 examples as MIDI files --Great Selections, vol. 1 Horn Concerto, K417 Andante Andante for Piano & Orchestra* Queen of the Night Aria from The Magic Flute* --Great Selections, vol. 2 Overture from The Marriage of Figaro Warnung (Song)* Confutatis from the Requiem PAGANINI --Great Selections Witch's Dance, Violin & Piano 16th Caprice, Violin Solo 24th Caprice, Violin Solo Two Minuets for Guitar Solo Perpetual Motion, Violin & Piano (xrpt) PURCELL --Great Selections Harpsichord Suite, mvts. 1-4 Trumpet Voluntary Overture from Dido and Anneas SATIE --Piano Music Three Gymnopedies Chorale from En Habit de Cheval "On A Helmet" from Descriptions Automatiques Nocturne #2 Sarabande #2 "Golf" from Sports & Divertissements "Tennis" from Sports & Divertissements "The Bearer of Large Stones" from Chapitres Three Pieces in the Form of a Pear Chorale from Apercus desagreables Vexations Distinguished Waltz #2 --Orchestral & Chamber Works Carillon, trumpet duet Chorale & Fugue for Piano & Violin March de Cocagne from Trois Petites Pieces Montees Choeur final from Genevieve de Brabant opera Finale from Jack in the Box Chorale & Prelude du Rideau Rouge from Parade Danse & Finale from Relache Socrate (xrpt) D. SCARLATTI --25 Keyboard Sonatas, vol. 1 #1-25 --25 Keyboard Sonatas, vol. 2 #26-50 --25 Keyboard Sonatas, vol. 3 #51-75 --25 Keyboard Sonatas, vol. 4 #76-100 --25 Keyboard Sonatas, vol. 5 #101-125 --25 Keyboard Sonatas, vol. 6 #126-150 SCHUBERT --Great Selections Ave Maria* March Militaire (piano 4 hands) Moment Musical Five Waltzes Hark! Hark! The Lark! Wind Octet, Menuetto Lndler, #1-5 The Unfinshed Symphony, mvt. 1 (xrpt) SCHUMANN --Great Selections Traumerei Lotus Flower Mondnacht* Romance, for Oboe & Piano, Op. 94 Papillons Carnaval, Op. 9, Valse noble Birthday March Impromptu #3 SCRIABIN --Favorite Piano Music Vers La Flamme Etude Op. 49 #1 Prelude Op. 11 #6 Scherzo Op. 46 Prelude Op. 11 #9 Dsir for Piano Solo SOR --Eight Great Guitar Pieces Estudios #1, 2, 5*, 6, 10, & 17 Andante* Minuet in D* TARREGA --A Guitar Recital* Maria Marietta Pavana Three Preludes Adelita Capricho Arabe Lagrima TCHAIKOVSKY --Orchestral Music Swan Lake Theme, arr. Chinese Dance from Nutcracker Suite 1812 Overture (xrpt) Sleeping Beauty (xrpt) VIVALDI --The Four Seasons, Spring, complete, 3 mvts. WAGNER --Great Selections Prelude from Tristan and Isolde Ride of the Valkyrie Theme (xrpt) Evening Star* Wedding March, organ Wedding March, Full Arr. Music of the Medieval World Sabio, Cantigas Frauenlob, Leich Landini, Ballata Machaut, Virelai Machaut, Rondeau Moniot d'Arras, Lai Roman de Fauvel (xrpt) Sumer is icumen in, Small Sumer is icumen in, Full Dies Irae (Requiem Mass) Kyrie & Offering (Requiem Mass) St. Martial Organum Canzo Estampie Book of Daniel (xrpt) Virelai Worldes blis Leonin, Organum Perotin, Alleluya Nativitas A Renaissance Collection, vol. 1 Byrd, Terra Tremuit Ockeghem, Ma Maitresse Orlando di Lasso, Jubilate Deo Desprez, Absalon Monteverdi, Crucifixus Chambonnieres, Canaris Gabrielli, Sacrae Symphony Palestrina, Alla Rivea del Tebro A Renaissance Collection, vol. 2 15 Short Duets (various composers) Orlando di Lasso, Prologue Gesualdo, Moro Lasso Palestrina, Agnus Dei Byrd, Carman's Whistle Baroque Masterpieces J.S. Bach, Jesu, Joy of Man's Desiring J.S. Bach, WTC Prelude & Fugue #20 W.F. Bach, Minuet Buxtehude, Prelude & Fugue in Am Couperin, La Nanete Couperin, Allemande Couperin, Mass Part 1, organ Handel, Overture to the Messiah Pachelbel, Canon in D Pergolesi, Duet from Stabat Mater Purcell, Harpsichord Suite, mvt. 1 Rameau, Le Rappel des Oiseaux D. Scarlatti, The Cat Fugue Telemann, Fantasie Classical Era Favorites Beethoven, Appassionata Piano Sonata, mvt. 1 Beethoven, Symphony #6--Pastorale (5 xrpts) Beethoven, German Dance Gluck, Chorus from Iphigenie in Aulis Haydn, String Quartet, Op. 72 #2 Haydn, Symphony #49, Allegro di Molto (xrpt) Mozart, Andante for Piano & Orchestra* Mozart, A Little Night Music, mvt. 4 Mozart, Warnung* Quantz, Sonata for 2 Flutes, 3 mvts. Romantic Era Golden Age Brahms, Capriccio Opus 116, #3 Chopin, Nocturne in B Major* Dvorak, Ecossaise Mendelssohn, Barcarole Puccini, Quando men vo from La Boheme* Rimsky-Korsakov, Flight of the Bumblebee Schubert, March Militaire Schumann, Traumerei Faur, Romance Faur, Improvisation Grieg, In the Hall of the Mountain King Grieg, Little Bird Liszt, Mephisto Waltz (xrtps) Music After 1850 Satie, 3 Gymnopedies Debussy, Clair de Lune Debussy, Syrinx for Flute Solo Scriabin, Vers La Flamme Bizet, L'Innocence Franck, The Doll's Lament Franck, Choral for organ Griffes, The White Peacock Offenbach, Can Can, arr. MacDowell, The Eagle Joplin, Maple Leaf Rag* L. Romeo, Jazz Waltz for Piano C. Jacob, Blues Sartori, Elegy for Sax and Harp Hauer, Trope Cowell, Advertisement Great Operatic Masterpieces* Quando men vo from La Boheme (Puccini) L'amour (Habanera) from Carmen (Bizet) Figaro Aria from The Barber of Seville (Rossini) Ach, so fromm from Martha (von Flotow) Stride la vampa! from Il Trovatore (Verdi) Evening Star from Tannhauser (Wagner) Queen of the Night Aria from The Magic Flute (Mozart) World's Greatest Art Songs, Vol. 1* Beethoven, The Free Man Beethoven, Nature Brahms, Madchenlied Chopin, Eine Melodie Ravel, La-bas, vers l'eglise Schubert, Ave Maria Wolf, Auf ein altes Bild World's Greatest Art Songs, Vol. 2* Debussy, Romance Faur, Aprs un Reve Liszt, Oh! Quand Je Dors Mozart, Warnung Rossini, L'Invito, Bolero Satie, Song of the Cat, Song of the Rat Schumann, Mondnacht World's Favorite Piano 4-Hand Music Beethoven, March Beethoven, Minuet in G J. Strauss, Blue Danube Dvorak, Six Ecossaise Haydn, Minuet Schubert, Five Landler Schubert, March Militaire Schubert, Moment Musical Schubert, Two Waltzes Schumann, Birthday March Schumann, Impromptu #3 Brahms, Three Waltzes Verdi, March from Aida Mozart, Sonata in D, Allegro Mozart, Sonata in Bb, Allegro The Art of Solo Guitar Bach, Chaconne* Bach, Boure in E Minor Carcassi, Two Etudes Carulli, Two Etudes Aguado, Two Etudes Giuliani, Two Etudes Legnani, Waltz Milan, Two Pavanes* Paganini, Two Minuets Sor, Two Studies Tarrega, Three Preludes* A Guitar/Strings Recital* Aguado, Larghetto Aguado, Waltz J.S. Bach, Prelude Carcassi, Minuet Carcassi, Scherzo Carulli, Andante Carulli, Waltz De Visee, Bouree Diabelli, March Diabelli, Scherzo Giuliani, Waltz Legnani, Waltz Purcell, Minuet Sor, Andante Sor, Minuet in D Spanish Romance (anon.) Great Orchestral Overtures Overture to Maria Stuarda*, arr. (Donizetti) Overture to The Marriage of Figaro (Mozart) Royal Fireworks Overture (Handel) Overture to L'Oreste Opera (Handel) Overture to Severo Opera (Handel) Overture to Dido and Anneas (Purcell) 1812 Overture xrpt (Tchaikovsky) "Big-Orchestra" Showcase Saint Seans, Danse Macabre (xrpt) Bruckner, Symphony #8, mvt. 3 (xrpt) R. Strauss, Elektra, orch. (xrpt) Rimsky-Korsakov, Overture to Scheherezade (xrpt) Brahms, Symphony #1, mvt.1 (xrpt) Liszt, Les Preludes (xrpt Finale) Great Classics from Movies Dies Irae (The Shining) Confutatis from the Requiem--Mozart (Amadeus) Canon in D--Pachelbel (Ordinary People) The Entertainer--Joplin (The Sting) Also Sprach Zarathustra--R. Strauss (2001: A Space Odyssey) Rachmaninoff, Prelude in C# Minor (Frankenstien) Best-Loved Holiday Music CAROLS We Three Kings of Orient Are O Little Town of Bethlehem Deck the Halls O Come All Ye Faithful God Rest Ye Merry Gentlemen Good Christian Men Rejoice Hark the Herald Angels Sing Joy to the World Away in a Manger It Came Upon a Midnight Clear The First Noel Silent Night STYLINGS* O Little Town of Bethlehem Deck the Halls O Come All Ye Faithful God Rest Ye Merry Gentlemen Hark the Herald Angels Sing Joy to the World Away in a Manger Version 1 Away in a Manger Version 2 It Came Upon a Midnight Clear The First Noel CHANUKAH Chanukah Oy Chanukah I Have a Little Dreidel Maoz Tsur Ner Li Favorite Wedding Music Wagner, Wedding March, Organ Wagner, Wedding March, Full Arr. Mendelssohn, Wedding Processional, Organ Mendelssohn, Wedding Processional, Full Arr. Pachelbel, Canon in D Schubert, Ave Maria* Vivaldi, Spring mvt.1, from Four Seasons National Anthems of Over 50 Countries Afghanistan, Albania, Argentina, Austria (Osterreich), Brazil, Burma, Cambodia, Canada, China (c), China (n), Egypt, El Salvador, Finland, France, G.B., Switz., Australia, Germany, Ghana, Greece, Guatemala, Haiti, Hungary, Iceland, India, Iran, Iraq, Ireland, Israel, Italy, Japan, Jordan, Laos, Libya, Luxembourg, Mexico, Nepal, Netherlands, New Zealand, Nicaragua, North Korea, Norway, Poland, San Marino, Saudi Arabia, South Korea, Soviet Union, Spain, Sudan, Sweden, Thailand, Turkey, United States of America, Yugoslavia The Music of Shakespeare's Plays* March Danish March French March Keel Row And Will He Not Come Carman's Whistle Come O'er the Bourne, Bessy I Loath that I Did Love It Was a Lover and His Lass Jolly Robin Lawn as White Light o' Love Stephano's Songs Thou Cans't Not Hit It Where Griping Grief Willow Song A Folk Music Collection* I Ride an Old Paint--country band When the Work's All Done Jesse James Sweet Betsy from Pike The Cowboy's Dream The Old Man La Golondrina La Molienda El Cefiro I Gave My Love a Cherry Minha Esperanca Las Mananitas It Was a Lover and His Lass Clementine Willow Song La Marseillaise World Music* (Comes with an audio Compact Disc!) THREE VERSIONS OF EACH PIECE: - a small, General MIDI arrangement, - a standard General MIDI arrangement, - the full version used to create the CD! Fantasy #1--Mystic Rhapsody #1--Spirited Fantasy #2--Celestial Rhapsody #2--Evocative Fantasy #3--Peaceful A Dance Collection OLDBEATS Tango: Black Diamond Fox Trot: The Century Girl Polka: Irresistible Galop: Qui Vive! Waltz: La Serenata FOLK Russian Dance Danish Dance Hungarian Dance Scottish Dance Irish Dance German Dance French Dance Spanish Dance Italian Dance NEWBEATS 25 Drum Patterns NY Funk (2), Detroit Funk (3), LA Funk (2), Country Funk (1), Broken Figured Funk (1), Fat Back Funk (1), Fusion Triplet (4), Fusion (4), Fusion Tabla (1), Fusion Samba (4), Fusion Rudiments(2) Music for Film, TV, Radio* Headline News (Boston Globe) PBS Background (Poetry Now) Evening Odyssey Documentary (Coming of Age) Daytime TV Drama Theme Love Theme 30: Ad Big Band Talk Show Chase Theme News ID PBS Talk Show Radio Jazz Theme (Waltz) Pop/Jazz: Pieces & Materials* SIX JAZZ PERFORMANCES Portrait Reflections Saturday the 14th Caprice #1 Caprice #2 Blues Combo, ver. 1 Blues Combo, ver. 2 Blues Combo, ver. 3 FOUR POP PIECES Rainsong Festival Industrial Pulse Summer Dream STYLE BLOCKS (GROOVES MINUS ONEt) Ballad Bebop Bossa Country Funk Latin New Age Blues Rock Rock 2 Shuffle COLLECTIONS! Multi-disk collections of various single-volume albums listed above. MIDI File Concertt Series. Only $69.95! This is a diverse collection of some of our finest concert performance pieces. Includes: --Beethoven: Piano Sonata Opus 101* --Chopin: Op. 9 Nocturnes*, complete --Great Operatic Masterpieces* --Tarrega: Guitar Recital* --World's Greatest Art Songs, vol. 1* --World's Greatest Art Songs, vol. 2* --AND MORE! OVER 35 COMPLETE MOVEMENTS! MIDI File Scoret Series. Only $79.95! --Vivaldi: The Four Seasons Spring --Scarlatti: 25 Keyboard Sonatas, vol. 1 #1-25 --J.S. Bach: Favorite Selections --Handel: Royal Fireworks Music, complete --Haydn: Symphony #1, complete, 3 mvts. --Mozart: A Little Night Music, complete --Beethoven: Moonlight Piano Sonata --Chopin: 13 Great Preludes --Debussy: Greatest Piano Music --Liszt: Piano Music --"Big-Orchestra" Showcase OVER 45 COMPLETE MOVEMENTS! Music For Multimedia. Only $89.95! --A Guitar/Strings Recital* --Great Classics from Movies --Best-Loved Holiday Music --National Anthems of Over 50 Countries --World Music (no CD) --A Folk Music Collection --A Dance Collection --Music for Film, TV, Radio --Pop/Jazz: Pieces & Materials OVER 150 COMPLETE MOVEMENTS! MIDI File History of Music. Only $99.95! This is our most comprehensive collection--over 70 different composers! --Music of the Medieval World --A Renaissance Collection, vols. 1 & 2 --Baroque Masterpieces --Classical Era Favorites --Romantic Era Golden Age --Music After 1850 --World Music (no CD) OVER 115 COMPLETE MOVEMENTS! * NOTE THAT ALL PERFORMANCE FILES ARE MARKED WITH AN ASTERISK IN OUR CATALOG, AND IN THE LIST AT THE END OF THIS BOOK. ********************************************************** ********************************************************** ** COPYRIGHT INFORMATION, LICENSE AGREEMENT, & WARRANTY ** ********************************************************** ********************************************************** The Romeo Music International MIDI Editions Reference Book (C) Copyright 1991, 1992, 1993 by The JLR Group, Inc. & Romeo Music International Romeo Music International MIDI Editions (C) Copyright 1989, 1990, 1991, 1992, 1993 by The JLR Group, Inc. & Romeo Music International (P) Performance Right 1989, 1990, 1991, 1992, 1993 by Romeo Music International ALL RIGHTS RESERVED. INTERNATIONAL COPYRIGHT SECURED. Created in the U.S.A. All products are produced by Romeo Music International. Our files have been recorded all around the world. All MIDI data engineered, mixed, and mastered at RMI Digital Division, Romeo Music International, Boston, MA. Romeo Music International is a division of The JLR Group, Inc. Thanks to Rob Sherman, Tim Swetonic, Courtney DeCarlucci, Jim Romeo, Laura Romeo, and all our loyal Romeo Music MIDI Editions customers. Thanks to Neal Satran, the world's most awesome MIDI Data Editor! And special thanks to Ken Volcjak, the Director of Romeo Music MIDI Editions. ********************************************************* * HERE'S OUR G-R-E-A-T LICENSE AGREEMENT * ********************************************************* LEGAL PURCHASERS MAY MAKE AUDIO RECORDINGS, OR PRINTED REPRODUCTIONS IN STANDARD MUSICAL NOTATION, OF ANY PIECE IN THIS COLLECTION, FOR PRIVATE OR PUBLIC USE, FOR PROFIT OR NOT, with the exception of the pieces listed below. However, a written notification must be sent to Romeo Music at the address given at the beginning of this book describing any "for profit" use of any piece in this collection. LEGAL PURCHASERS OF THIS PRODUCT MAY USE UP TO 3 MIDI FILES FROM ANY ONE PRODUCT, AS MIDI FILES, IN THEIR OWN PRODUCTS. Any such uses must be attributed to Romeo Music International. If you wish to use more than 3 MIDI files from any one product, you must obtain permission in writing from Romeo Music International. LEGAL PURCHASERS OF THIS PRODUCT MAY USE UP TO 10 SENTENCES DIRECTLY QUOTED FROM THIS BOOK IN THEIR OWN TEACHING, MULTIMEDIA PRESENTATIONS, LINER NOTES, PRODUCTS, ETC. Any such quotes must be attributed to Romeo Music International. If you wish to use more than 10 sentences, you must obtain permission in writing from Romeo Music International. LEGAL PURCHASERS OF THIS PRODUCT MAY MAKE BACKUP COPIES of the disk files for their own personal use, but not to give away or sell, or to make available for use by the public in any way, or to be used on more than one computer simultaneously. If you want or need any of the rights prohibited by this License Agreement, please send a written request to Romeo Music International for review. Upon written notification by RMI, you may receive these rights. RECORDING & PRINTING & MIDI USE EXCEPTIONS: - The Six Jazz Performances on the Pop/Jazz disk. - The C. Jacob Blues on the After 1850 disk. All music and all files in the Romeo Music MIDI Editions are owned by Romeo Music International. Except as provided for above in this license agreement, no part of this book or the accompanying disk files may be reproduced in any form or by any means whatsoever, electronic or mechanical, including photocopying or audio recording, or by any information storage retrieval system, without permission in writing from Romeo Music International. THE "FINE PRINT" WARRANTY Romeo Music International makes no warranties, guarantees, or representations, express or implied, regarding the use or the results of the use of the Romeo Music MIDI Editions products in terms of its correctness, accuracy, reliability, or otherwise. **************************************************** **************************************************** ** ** ** That's it! ** ** ** ** We hope you enjoy this book, ** ** and your files, too. ** ** ** ** Thanks for your purchase! ** ** CALL US ANY TIME! ** ** 1-617-254-9109 -- 1-800-852-2122 ** ** ** ** ROMEO MUSIC INTERNATIONAL ** ** MIDI FILE EDITIONS(TM) ** ** ** **************************************************** ****************************************************