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Table of Contents
Terry Riley – In C (1964)
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Pitch Range Chart Terry Riley’s In C (1964) Meredith Monk’s …
In C. Performing Directions. All performers play from the same page of 53 melodic patterns played in sequence. Any number of any kind of instruments can …
Source: academic.brooklyn.cuny.edu
Date Published: 12/15/2021
View: 7571
In C – Terry Riley Sheet music for Piano (Solo) | Musescore.com
Download and print in PDF or MIDI free sheet music for In C by Terry Re arranged by crize2foi for Piano (Solo)
Source: musescore.com
Date Published: 11/19/2021
View: 835
Terry Riley’s In C – Contemporaneous
This piece is all about communal music making, and we are so excited for the opportunity to do so with you. Feel free to download the music that pertains to …
Source: www.contemporaneous.org
Date Published: 9/18/2021
View: 5549
Terry Riley’s In C – Third Coast Percussion
There are performance scores in concert pitch, as well as scores transposed for Eb, F, and Bb instruments. Each copy of the score also has …
Source: www.thirdcoastpercussion.com
Date Published: 11/2/2022
View: 6767
Terry Riley 39 s In C Studies in Musical Genesis and Structure
Robert Carl’s study of Terry Riley’s In C pushes the conception of musical … As Kyle Gann explains late in the volume, In C reminds us that ”a score is …
Source: www.academia.edu
Date Published: 8/3/2021
View: 6093
Terry Riley’s “In C” – Tero Parviainen
The complete musical score of “In C” consists of 53 “loops” of exactly this kind. Though usually repeat signs just mean that you should play a …
Source: teropa.info
Date Published: 10/14/2021
View: 6355
“In C” by Terry Riley Instruction for beginners 1 Any number of …
“In C” by Terry Riley. Instruction for beginners … experience will be piano and Orff instruments being played on the stage. … music slowly die away.
Source: www.musicinst.org
Date Published: 10/13/2022
View: 7385
Category:Riley, Terry – IMSLP: Free Sheet Music PDF Download
Terry Riley. (b. 24 June 1935). ＝. Alternative Names/Transliterations: Terrence Mitchell Riley. ＝. Name in Other Languages: 特里·赖利, 特里·賴利, …
Source: imslp.org
Date Published: 7/12/2021
View: 1942
Terry Riley’s In C — Contemporaneous
Terry Riley’s In C
Thank you for joining us to play In C! This piece is all about making music together, and we really appreciate the opportunity to do it with you. Feel free to download the music that goes with your instrument!
Terry Riley – In C (concert pitch)
Terry Riley — In C for E-flat Instruments
Terry Riley — In C for F instruments
Terry Riley — In C for Bb Instruments
Terry Riley — In C in bass clef
Third Coast Percussion
In C performer:
Thank you for joining us for this performance! We are thrilled to have this opportunity to make music with you all at one of Chicago’s most spectacular venues. Our goal is to create an amazing performing experience for both our musicians and our audience. Thank you for contributing your time and talent to this unique event.
In this blog post you will find:
Printed sheet music for In C. There are performance scores in concert pitch as well as scores transposed for Eb, F and Bb instruments. Each copy of the score also includes detailed playing instructions by Terry Riley.
A list of events for the performance project with times and locations.
A general discussion of In C performance practice and some specific instructions for our performance together.
Some instructional videos for In C
Video and audio of some performances of In C.
Printed scores
Terry Riley – In C (Concert)
Terry Riley – In C for E-flat Instruments
Terry Riley – In C for F instruments
Terry Rliey – In C for Bb Instruments
event calendar
June 24, Third Coast Percussion Studio
6:00 p.m. – 9:00 p.m. 4045 N Rockwell St. Chicago, IL 60618 Free on-street parking, food provided
June 25, Pritzker Pavillion 3:00pm Load-In, call for all artists Enter the stage from Randolph St., east side of the pavilion 4:15pm-5:00pm Soundcheck 5:00pm-6:00pm Stage dark 6:30pm- 7:15 performance 7:15-7:30 stage change
performance characteristics
Playing instructions for In C are included with each copy of the score. Please familiarize yourself with all the composer’s instructions in the score. Additionally, below are some specifics and some general ideas to help you prepare for our performance at the Pritzker Pavilion:
For this performance we are shooting for a total duration of 45 minutes. As you move through the musical material you should spend approximately 45-50 seconds on each pattern. The performance tempo is approximately quarter note = 96 bpm, and pulsating eighth notes are played throughout by a member of TCP on the glockenspiel.
The performance begins with the glockenspiel playing eighth notes on a concertante C tone. After 5-10 seconds, the whole ensemble begins to enter with the first melodic pattern. Each performer should enter when they see fit and each performer should have entered after 20 seconds.
First listen, then play 😉 Each individual performer must play strictly within the grid specified by the carillon. However, each performer is free to choose where the “downbeat” of each bar is. Players should feel free to take regular breaks in the game, but remember that the chronological map of 45-50 seconds per pattern should go on whether you’re playing or not. If you have to stop to breathe, stop. If you don’t need to stop to breathe, you should probably stop from time to time anyway, adding to the changes in texture that can produce such fantastic performances of the piece.
They should never be more than 2-3 melodic patterns ahead or behind the rest of the ensemble. If you ask around and find that you’re still playing Pattern 3 while the rest of the ensemble is somewhere around 19, jump forward to join them. Similarly, if you find you’re really way ahead of the rest of the ensemble, fade out, wait for the group to catch up with your location, and come back in.
Performers should feel free to add dynamics and articulation to the melodic patterns as they see fit. Listen across the ensemble. When you hear another performer phrase a pattern a certain way, try to imitate it. The consistency of interpretation will emphasize the canonical effect of the music. If you hear other artists moving dynamically in a certain direction, try to follow them. This will give the ensemble a consistent sound and direction.
Play each musical pattern in a pitch that you feel is appropriate on your instrument. If you wish, you can change registers throughout the piece. Harness the unique benefits of your instruments to serve the performance as a whole. For example, if you play an instrument with a great low register and the ability to sustain, bring out those long notes and help fill the ensemble sound!
If there is a pattern that doesn’t work well with your voice or instrument at the given tempo, you can increase the rhythmic values of the musical pattern (16th notes become 8th notes, 8th notes become quarter notes, etc.). You can also choose to wait for a pattern if it is not idiomatic to your voice/instrument. Always make sure you keep track of where you are and the timing of each pattern, even when you’re not playing it.
The piece ends after all players have reached #53. Once everyone has reached this final motif, the whole ensemble plays a long and gradual crescendo and diminuendo lasting a total of 20-30 seconds. A member of Third Coast Percussion will introduce the start of this event. All then fade out, leaving only pulsating eighth notes in the chimes. The last instrument to be played, the glockenspiel, fades out and the performance ends.
instructional videos
Video/Audio of In C Performances
There are so many recordings of this work and the variety of performances and instrumentation is one of the things that makes the music so fantastic and timeless. I like the Bang on a Can All-Stars version. Below are some links to online performances. Browse around and share! If there’s a performance you really love, send us a link and we’ll post it.
Terry Riley (audio)
Terry Riley & Friends – Amsterdam
Baylor Percussion Group
Terry Riley 39 s In C Studies in Musical Genesis and Structure
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