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A Senior Composition Recital: A Composer's Lesson in Music as a Language
An Honor Thesis (MUSTH 495 - HONRS 499)
by
Michelle Yaiser
-
Thesis Advisor: David Foley
Ball State University
Muncie, Indiana
February 1995
May 1995
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Purpose of Thesis
Music has always been a very important part of my life. There are many times I can recall
in which music has "moved" me or I have watched it "move" others. Music has the power to
affect people in many different ways. It has been said that music can soothe the savage beast and
Henry Vv Longfeliow once wrote: "Music is the universal language of mankind." Based on these
ideas, I decided I would try to write programmatic pieces for my recital to see if I could tell a story
and express emotions through notes rather than words. Four of the five pieces on my recital are
based on some sort of story or poem.
T
•
Acknowledgements
-
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Thanks to Dr. Cleve L. Scott, David Foley, and Armando Tranquilino for teaching me how
to use the necessary compositional tools, encouraging me to try new ideas, and for telling me when
I just needed to start from scratch. Special thanks to Michael Gagliardo for the many hours of hard
work, frustration, and advice, and to my musicians for the time and effort they put into the
performance. l'd also like to thank Harry Van Aken for writing the poem that inspired one of my
pieces and for being a true friend through everything. And thank you to my family for the support
that helped me get through the whole process.
I
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•
basis for me, this difficulty made writing the piece a learning experience and a struggle.
The text heard in the fifth movement is based on excerpts from T.S. Eliot's poem The Love
Song of J. Alfred Prufrock in his Prufrock And Other Observations collection of 1917.
And indeed there will be time ...
There will be time, there will be time
To prepare a face to meet the faces that you meet;
There will be time to murder and create,
And time for aU the works and days of hands
That lift and drop a question on your plate;
Time for you and time for me ...
And indeed there will be time
To wonder, "Do I dare?" and "Do I dare?"
)
•
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•
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Michelle Yaiser has studied composition with
Cleve Scott, David Foley and Armando Tranquilino,
and is a member of Sigma Alpha Iota,
International Academic Fraternity for women in the field of music.
In keeping with copyright and artist agreements, use of recording
and photographic devices is not permitted by other than approved university personnel.
We request your cooperation.
For performance information, call the School of Music Concert Hotline: 285-5878.
these children singing in stone a
silence of stone these
little children wound with stone
flowers opening for
ever these silently lit
tie children are petals
their song is a flower of
always their flowers
of stone are
silently singing
a song more silent
than silence these always
children forever
singing wreathed with singing
blossoms children of
stone with blossoming
This recital is presented in partial fulfillment of the requirements
for the degree Bachelor of Music
with a major in Music Engineering Technology
and of the requirements for the Honors Program at Ball State University.
Series XLIX
Number 117
Michelle Yaiser
(b.1973)
Children's Songs was completed as a project for MUMET325-Sound Synthesis 1 in the
fall of 1993. It is based on a poem by e e cummings which was one of the requirements
of the project. I created the piece by sampling Joey Bandt reading the poem, a group of
school children at play, and sounds around campus. I then took the samples into the
studio and transferred them to the Ensoniq EPS sampler to actually put the piece together
using many of the different manipulation techniques available. Joey is the son of Aoz
Bandt, an Australian sound sculptor who was here at the time of the project and with whom
I had the privilege to work.
Two peach roses to symbolize you and I,
And one for the emotions we share together.
One rose for the times we have had in the past,
And one rose for those times in the future when you are in my arms.
PAUlS HALL
Friday, February 17,1995
5:30 p.m.
MICHELLE YAISER
in a
SENIOR HONORS COMPOSITION RECITAL
Children's Songs (1993)
for stereo tape
A Knight's Gift to His Princess
And one last pale peach rose for the world we share together.
-Harry Thomas VanAken
BALL STATE UNIVERSITY
COLLEGE OF FINE ARTS
SCHOOL OF MUSIC
eyes
know if a
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tree listens
forever to always children singing forever
a song made
of silent as stone silence of
song
-e e cummings
)
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Children'S Songs was previously programmed on the first evening of the Threshold
Concerts last November. I programmed it again on this recital because it is one of my first
real attempts at electronic composition and composition in general. I wanted to show what
I have accomplished in the time since this piece was completed.
I also programmed it for another reason. I chose the poem originally because I liked
it better than most of the other poems I had read by e e cummings. However, this past
semester I was enrolled in ENG390 - "Once Upon a Time: The Art of Fairy Tales." In this
class, we not only read various versions of the t~les, but looked at the different roles they
played in various cultures throughout history. Often, the tales were a very special form of
communication and sharing between family and friends and could be an important part of
childhood. When listening to Children's Songs on the November concert, I realized that
music was often a special form of sharing and also played an important role in childhood.
Songs are a part of many of the games children play and activities they do, parents sing
lullabies to their children, and many lessons are taught using a song. I remembered how
my dad would sing to me when I went to bed--The Little Fishies, Tie a Yellow Ribbon
(Round the Old Oak Tree), and Raindrops Keep Falling on My Head were some of my
favorites.--and how my mom always had the radio or record player on when I came home
from school and we would sing along together. These times are happy memories for me
and were an important part of my childhood. In the rush of classes, rehearsals, recitals,
and practicing, I think that at times as music students and teachers whose lives are
somewhat dictated by music, we lose touch with the specialness that music can create in
the simple things in life. I reprogrammed Children's Songs not only to show my
advancement in composition, but to remind the audience (and me) what an important par(
music can play in our lives.
\
By each spot the most unholyIn each nook most melancholy,There the traveler meets aghast
Sheeted Memories of the PastShrouded forms that start and sigh
As they pass the wanderer byWhite-robed forms of friends long given,
In agony, to the worms - and Heaven.
By a route obscure and lonely,
Haunted by ill angels only,
Where Eidolon, named Night,
On a black throne reigns upright.
I have journeyed home but newly
From an ultimate dim Thule.
For the heart whose woes are legion
(
Two Together was composed as a duet for an instrument I knew much about (clarinet)
and an instrument I knew absolutely nothing about (cello). I really wanted to write for a
string instrument because I had never even seen string music and decided I really wanted
to learn something by writing this piece. I chose the cello because of its rich, full sound
which I thought would combine with the clarinet very nicely. The overall structure of the
piece is based on two-seconds, sevenths, and multiples of two bar phrases.
Land of Thule is based on a poem called "Dreamland" by Edgar Allan Poe, one of my
favorite authors. I composed it using original synthesized voices and stock instrumental
voices on the Yamaha TG77, TX81Z, TX816, and the Korg Wavestation. I sampled the
breathing onto OAT and was able to put it into the piece using Digital Performer.
Bottomless vales and boundless floods,
And chasms, and caves, and Titan woods,
With forms that no man can discover
For the dews that drip all over;
Mountains toppling evermore
Into seas without a shore;
Seas that restlessly aspire,
Surging, unto skies of fire;
Lakes that endlessly outspread
Their lone waters - lone and dead,-
Their still waters - still and chilly
With the snows of the lolling lily.
l
Dawn (1994)
for stereo tape
A Knight's Gift to his Princess (1994-1995)
You
Me
Together
Past
Future
Our World
Sandra Melchoir, flute· Andrew Mellang, clarinet
Danielle McKee, French horn - Nathan Miley, cello
Marc Coulomb, Jim Green, Brad Gunyon, percussion
Rebecca Justus, Angela Miller,
Amanda Sturgell, Natalie Turner, soprano
Stacy Chambers, Elise Johnston, Tammie Phillips,
Megan Prifogle, Shannon Wyels, alto
Richard Koons, Manaswi Roy, Ervin Walter, tenor
Andrew Crum, Cory Estby, Gary Reynolds, bass
Michael Gagliardo, conductor
Land of Thule (1995)
for stereo tape
Bya route obscure and lonely,
Haunted by III angels only,
Where Eidolon, named Night,
On a black throne reigns upright.
I have reached my home but newly
From an ultimate dim Thule.
By the lakes that thus outspread
Their lone waters, lone and dead,Their sad waters, sad and chilly
With the snows of the lolling lily,By the mountain - near the river
Murmuring lowly, murmuring ever,By the grey woods, - by the swamp
Where the toad and the newt encamp,
By the dismal tarns and pools
Where dwell the Ghouls.-
By a route obscure and lonely,
Haunted by ill angels only,
Where Eidolon, named Night,
On a black throne reigns upright,
I have wandered home but newly
From an ultimate dim Thule.
-Edgar Allan Poe
Dawn was originally realized using original synthesized voices on a DX-? and a tape
machine. It was later redone using the TX-816 and Digital Performer. It is based on the
idea that although a sunrise may be a very peaceful time of the day, it is also a neverending cyclical battle between dark and light. As the sun struggles to rise above the
horizon, the night struggles to maintain its hold on the world. This cyclical process can
be found in every aspect of life.
Two Together (1993)
Andrew Mellang, clarinet - Nathan Miley, cello
Bya route obscure and lonely.
Haunted by ill angels only,
Where Eidolon, named Night,
On a black throne reigns upright.
I have reached these lands but newly
From an ultimate dim ThuleFrom a wild weird clime that lieth, sublime,
Out of Space - out of Time.
Tis - of 'tis an Eldorado!
But the traveler, traveling through it.
May not - dare not openly view it;
Never its mysteries are exposed
To the weak human eye unclosed;
So wills the King, who hath forbid
The uplifting of the fringed lid;
And thus the sad Soul that here passes
Beholds it but through darkened glasses.
(
A Knight's Gift to His Princess is based on a poem that was written for me by Harry
Thomas VanAken when he sent me a half dozen peach roses when we first started dating
three years ago. At the time, I "melted" and have cherished the poem ever since. While
studying with Armando Tranquilino, I thought the poem could serve as an inspiration for
a piece. He agreed and I began to write the first movement, and sketch the themes for the
second and third movements. While writing it, he had me study and listen to different
compositional techniques that were used to convey emotions and situations - i.e., major
key for happiness, minor key for sadness. A year later, the final product is a much larger
work than I had originally anticipated. I also found that it was more difficult to express pure
emotion in music than I had originally anticipated. Since the piece has such an emotional
1:wo 1:oge:lhe,,.
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Michelle L. }lalse,.
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-
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I
Jl.L~ ~ JtL
-
-Il-
I
:>
>-. ---L~1A ci>-~
11>-..a...
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..... ..l1...li....11...>-
:>
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~~
lJI.:> •
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:>
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..,
54
Sn. &Cym
.JI.:>.)..~
Ja. '..Jl'
:>
../1... •
..,
...d
Mar.
>-
.~.~.
:>.~
..,
1\..11...
E Hom
il~I
~
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~.
IlL
:>-Il:>~
-4
~.Jl
o.
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-
-
Sn.&Cym
FL.
Jt..
-14
J.II
-
:>
h~
ff
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o.
-
L
-
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l:EB It J:EEib.
L
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n
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0-1
l
\I
J.
J.
~
r
-
~
J.
J.
J.
!..
~
L
-
4
FL
0.
-
F. Horn
Mar.
Together
Score
Michelle Yaiser
Moderato
J =66
I
Flute
t.l
1\ II
Garinet
t.l
II II
French Hom
t.l
swsta
~d andjlowillg
• .... _.. bjll.
. ' # . -•
.. n
Cello
I
I
'IIlfJ
·
Marimba
1
,-
TImpani
~
·
~
mp J -112
~'. ~#t ~~. ~#i:~t ~. f:~ t:~
!
~
~
~
~. t~~~~~t ~~be;~
Fl.
p
tl
II
II
G.
tJ
II
II
EHn.
tl
lin
.. .. ..-
bjll. ~ ~ f: f:
Cello
..
.. # _..
~
I
·
Mar,
6
TImp.
I
·
~
~
,....,
e 1995 by MICH lid.
,....,
~
2
1
t· tt t P:
~~. fL fL fL
t· .....
~.
..._. bfL bfL ~ ~ t
~
~
• •• =;;[,#b.
~
~
Fl.
tJ
II ~
o.
..,
~Jl
F. Hn.
tJ
•
I • .,.
bfL
L
.. '"
Cello
I
.
Mar.
L_
L
L
L
l
.....
'IIlfJ
11
I
.. fl..
.L
l
I
.L .l
......
......
,....,
~
~
I
~
Tunp.
5
_Fl.
,
II ~
.,. .-.
..
smooth and COIIMCted
P.
•
~.
~.
~
po
.. t
fL·
~
p.-.,..
smooth and co""ected
I
tJ
I
I
,.
I
1
'1IIj'
'IIlfJ
II ~
F. Hn.
I~
ppp
t.J
". fL .,..bfL q.,..
~~
bfL
l
.. r--. fI.,..b fI.
~fI.
Cello
ppp
l
Mar.
15
Tunp.
.,.
'Rif
'IIlfJ
o.
.. .,.
p.
.....
,...,
.1
• L .• fL ..
L
.....
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I
.Ll
l
.....
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.1
l
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-e
3
j1
...
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II
•
#-
fL
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fl. .... fL
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il
.. ' A
II II
o.
il
I'
"
F.
I
.....
#-It . . . . .
-
1'-
I
II
Hn.
--.:r
u
:A:
;~
09-
&'
~
n-
09-
.'~
Cello
09-
o
Mar.
0
21
Tunp.
:>8
~.
"fI.
#-
J=80"...--
.11 -
..,
~
I
Tit.
..,
I
Tit.
..,
-
.'~
Cello
p-
~.
V
"-
to
t--....
:fJ..." ..........
=
Vibes
i~
'IIfI
.,
Tit.
09-
P
28
0
0
nt.
--
--'"
Vibe! - soft mallets
0
Mar.
.--'
P
Tit.
Tit.
Tunp.
-,
li.b-o.
II II
EHn.
I,..J
--
II
1\
o.
.-.........
L..7
09-
4
~
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---
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I.l
r
'I
L,...ol
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-
II
Q.
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F. Hn.
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:..--
-.........:...
V
II
-
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-
.,""
Cello
~
~
Mar.
~
---
....--
1"'\,
"
.Q.
&
&
35
.
Tunp.
-
;2
'-Fl.
~
~
tJ
"
.-
-.... ~'
~
~
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I VOU
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- -
-
-
a tempo
rit.
0
a,tempo ,
II
Q.
'iT
------
'-
---
"-
V
-
+-
rit.
mf
a;:,.,mpo
F. Hn.
"
II
iJ
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~
......
Cello
L./
Mar.
"
~
.
42
Tunp.
~
,.,
V
---
,.,
rit.
~I
a tempo
L./
--
..,..,
~
rit.
= -a tempo
-
--
--
&
rit.
&
=-
a tempo
rft.
--
5
--
.E
F1.
tJ
o.
'1Ilp
.AJI. ~
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-
1:.
~
~
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--
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~
~
.AJI.
F. lIn.
~
~
,-
.~-....
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-
-
I
.~'
I
..Il!li
Cello
1J.
Mar.
:",,~
tJ
49
to marimba
Tunp.
J
-Fl.
•
112
~-
.::::::::=
rit.
V
~.
o.
__
I
r
rit.
F. lIn.
~7~--~---------~-~
J
~
Jt.~~
--:------------J-~
Cello
rit·--=f
~
~
Mar.
~·P-r' ~..
56
'---"'"
nt.
:v- '" -
-
marimb - soft mallets
Tunp.
fit.
I
6
f
~
.:
-=
,-.....-4
.-
F1.
~
II II
--+-
..
~
~
~
=
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if
-
~.o.
~~
=F
--=9:
~
~
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I
o.
F. Hn.
~{L
11
I
L
..
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l...un
~
"
Cello
~.-y
~.o.
.-
~-~
.......,
~
~
~
:::j:
,.
Mar.
62
Tnnp.
-Fl.
o.
F.Hn.
Cello
Mar.
68
Tunp.
L
=
,
,....."
'"
~
'"
~
I
.. l~
~
:::E-
~
--'-
tJ
:::z.-
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-
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f....=-
7
;4
wryrubato
•
~
-
Fl.
o.
~
-
-
-
I"..0oI
morendo
rit.
"~
-.J
morendo
IiJl
F. Hn.
-.J
morendo
--11ft
wryrubato
f":'..
Cello
L,../
Ii
Mar.
-.J
. -
morendo
74
Tunp.
morendo
-
1/
L,../
rit.
""
....
morendo
Past
Score
Michelle Yaiser
Moderato
J= 90
Flute
..>
*
fI II
,
...
----
:: P-
Clarinet
tJ
-
*
"
French Hom
-
u
-~
~
pppp -==::::::: ::=-
J
..>
I lin
Cello
Marimba
1
--
TImpani
1
Fl.
ou
IJ
Cl.
"
J
U-
tJ
F. Hn.
"
.]
-&
D'
J
lin.
Cello
Mar.
11
.-
TImp
"'varied dynamics at discretion of perfonner
flute and clarinet cue off each other
e
1995 by MICH lid.
V
"
2
-
),4
Fl.
~--'=l
.In
I
~~
Time
-
tenitively
~
r.tl!: :::!l
-
-~
-
'IItp
Tirrp
tenitively
11....1l
0.
.e:r
:;
Tim
iJ
-
11 II
F.lIn.
~
Tim pizzo
I .. .,.
Cello
-==
'1Iff
Tirr
Mar.
:z
1~
~~
~
,.
;"
.
24
TlIDP
~:>..Jl:>:>
f·--
-
Ji
~
...
Fl.
~
...tL..Il
o.
~
~Il
F. lIn.
-
~
-
~
~
#I~~
i..ha.
~
cnsc. poco a poco
~
---
cn tac. poco a poco
--
----
-
~
II.,.
Cello
Mar.
.
31
=
~
-
--
~
41..1._
..
Fl.
t>
~
,., II
o.
.
~
-
IT
,., II
_*_ ~~'li
II!!IIIIIII
•
:r::,;;j
3
-l. I
.
T
-
•
•
...
~.
~
~
F. Hn.
t>
lin.
Cello
Mar.
.
34
Tunp
- . . *_Jrrl~
7
~
Fl.
•
•
-
,., II
o.
tJ
•
=;;.....
.t-
~:.'
f
,., II
F. Hn.
:>!It:l!ii:
tJ
an.
f
pizzo
Cello
'TIff
!~~
Mar.
:m.r
37
Tunp
-W
'TIff
f
:>
~
.
ii:'"
f
==--.
4
-
Fl.
f
o.
F. lIn.
pizzo
Cello
.D.
&
Mar.
Tunp
,
-
-.Jt..~
It
~--»-~~
-
Fl.
eJ
o.
!!SI:III -!.
...lI..JI.
~
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~
=
~
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I:
~
..
-
1=4=
:!:
.~~
~
I"'-J -
~
~
'TIff
...- ... -a
-
::::::
==
-==
.ll.Jl
F.Hn.
Cello
tm:
t:IIft
-
==
eJ
areo.
=
...:.::
- I
JI~
Mar.
en·
-=
~
-
-~
,
I:{;;
~=
45
TunP
-
5
......,
~
Fl
t.
-
...
Q-=C
~,
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. ~#~II""~",,
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.. II-#~~~
,....,
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=
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1
..
..
1
=---
II:J
'oJ
..
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.........
~
Cl.
~
"'If
..lJ..1I
F. Hn.
•
t.l
I
"'If
lin.
Cello
t=.
~
-
Mar.
50
-
Tunp
----'
-
......,
~
Fl.
..
II II
~#~
. 'J
II .
-""""I
11 .. 1. ..
#~ ~~
~
..
.......... 1
~
..
~~ b~
~I
-
'-
...:::
II..J
Cl.
~#~II_~
~
..
-..'
~
..
tJ
.~ II
-
:::=:;::iiiii"I
F. Hn.
t.l
•
1
1
I
..11ft
Cello
FJI:i:I=
-
-
~
-
-
Mar.
56
Tunp
--<
6
Fl.
,,-
o.
E Hn.
Cello
Mar.
Tunp
o.
EHn.
Cello
Mar.
Tunp
7
~~ I~ II.
J2
t It It.
t:
cresc poco /J poco
6.
I..
~ I~ II.
I..
~~ I~ II.
I..
~ #t II.
I..
~ It It.
6.
~t It II.
I..
q~ #
~~ II.
I..
Fl.
o.
"
II
-.J
• • t • • •
~
• • •
~
. • • t • •• t • • •
~
________ •
~
. . . t:. •
cruc poco a poco
,., II
E Hn.
-.J
~uc poco /J poco I
I
I.,n.
Cello
"J.
cresc poco /J poco
!t~ ~ ~ ~
!t~ ~ ~ ~
~ ~ ~ ~
~ ~ ~ ~
Mar.
cresc poco /J poco
62
•
Tunp
•
JJ.
-
cresc poco /J poco
-
Driving intensity
:>
Fl.
o.
EHn.
Cello
Mar.
ff
~ving intensity
Tunp
ff
•
-
11
-
•
8
-
FL
CL
F. Hn.
Cello
Mar.
TImp
-
~ lI- ';.lI-lI-lI-lI- a
11
Fl.
CL
a
=:
a
':.lI-lI-lI-
..,
"
J - 90
sustained and ~
'11if
II
~
J = 90
c. =: ....... =:.=: ....
J =90
btt: ~t:t:t:t:t:~~~~~t:t:
J - 90 sustained I
dflo~
'IIlp
100""
~
~
~
b~ lI- ';.lI-lI-lI-lI- fL lI-';.lI- ~ lI-lI-lI-
~
tJ
iLiI
F. Hn.
..,
lll~
Cello
ti~i~~~;~;;~i~~~
J =90
Mar.
71
;;=;;
=;;;;
=;;;;
=:
a
a:>
11:>
;;11
:>a
Tunp
-.oiiiIII
___
-.oiiiIII
-
J =90
....
~
~
100-"
a
~
..
9
~
"[1
-
•
F1.
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o.
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.--t--.
..
~
~
~
"
-
~
I'
---
1,..,.1
II
v
~
1IIp
"
~
~
./
II
F.Hn.
-.J
p
~
lIn.
#-
D
.~
--
~
~
~
~.n
~
.---
Cello
~
~
I
-
----
....
~
~
-...
e
Mar.
po
p
.
77
Tunp
Fl.
"
-
r.\
~
II
~
F. Hn.
--
~
~
-.J
o.
-
r "'"'
V
"
-V
~
--
II
-.J
lIn.
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V
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~
v
u
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>-
>-
>-
1Ilp
.... -
~-
.-
;.
r.\
Cello
"'"""
"""'"
Mar.
.
r\e
e
t"---e
e
-
r--.
r.\
~i~~~~~::::
=== IIU== === ===
1Ilp
84
Tunp
••• ;~~
10
":>
:>
:>
:>
==
==
Cello
Mar.
--
=
~"'11II"-
90
T'unp
F1.
f
o.
f
F. Hn.
Cello
Mar.
93
T'unp
- -
11
..
-
.0.
Fl.
o.
F. Hn.
-,
"
.. t_
II
---
lin
"
Cello
-
J~
"
Mar.
,
96
Tunp
Pj!
'r
--
't
Fl.
~
1L1I
o.
tJ
F. Hn.
"
tJ
I.n.
Cello
-
-~-
.... ~-.-~ ... -~-
very intense
tr
I...;;;
=;. tL tJ. tJ.
~.
jJ'
very intense
__ t .... .. ~ .. - .. ~ ..
.~
.. b~ tJ. tJ. tJ.
1 . -..
II
~
very intense
III:> .....
..
.
~
~
.-
--.... ,
Mar.
I~~~~
--,.
f
=: .....
~ ~~~~
,
jJ'
==
I~:~ ==
== == == ==
==~==~ li== == ==
-;;;=
-=-
wif
Tunp
:;;
jJ'
I~ : ~
.-
=;'tLfI.~
very intense
very intense
99
~
jJ'
wif
..
A=:" --
II
-
.-
• •l
-
-
-
.,
--=
jJ'
';...ery intense
-- --..
jJ'
II
..
,======
==
:> A:>
..........
-.oiiIi;I
~
-
.......
12
>-
02
Fl.
Cl.
~
fLfl. fl. fl.
>-
>-
~fl.fl.'"
fl.
•
b~ fl.
A
fl. fl.
k~
py.-
t)
I~~ ~~
.,n
~
b=; ~~H
~~~tt
Cello
I~i~ ~~
i
,
.
102
-
06
~
01
..
>-
i~~~
••
.. >-
--
.
~
- ---- - :>
A
:>
>-
:>
~ ".. ".. ".. ".. ".. ".. ~ ".. j!.JI·fIl~ .~ fl. L L
=-=
i i~~~
I~i i~ ~~
V
01>-
=;~~~
=;
--
Mar.
Tunp
11.....:1
-.0:-
~
m
"".."..fL
~ ~fLfLfL
..........
BeD up
>-
:.....::I
~ ~""""fL
~~
.>
F. lIn.
r'- fl. fl. fl.
......-
"~
"~
..
>-
>-
-.
==
I:..,;,,;
.-:>
:>.-
---- ---- ---- ----
L L L L L L
If- If- -,.. If-
fL
Fl.
.>
Cl.
" »
bA
..,
~""""""""""""~""~""fL
" » "~
F.Hn.
bfL fL fL If-
~
If-
~ fL ".. fL fL
If- If-
~
If-
~
1l.
..,
., ....
:~ ~ ~ ~i .~. ~ ~ ~ ~ ~ ~ ~ ~ ~ ~
~
~ ~ ~ ~ ~ ~ ~ ~ ~ ~.~ ~
~i
i:~:~:~i~i~~ I~~ : ~ :
Cello
i :i :
~
~
•
:
~
:
~ ~ ~
i
..
:>
Mar.
Ii?
. ..
106
Tunp
11>-
-
..
~
-
>-
..
..
:>
-
01
:>
:>
Michelle Yaiser
Score
Moderato
-
;
II
J-- 90
L
Oarinet
eJ
'TIff
beat OIl top of cello
Cello
-
=====
--
areo
Marimba
•
W
W
-
~UUI
-
I
1
Perc.
1\
Soprano
eJ
1\
Alto
eJ
Tenor
f
Bass
! II
fL<r"
-.IX
-.0.
O.
eJ
Cello
=
.
=====
!
U U I
I arco
Mar.
eJ
6
Perc.
1f;--
1\
Sq>.
eJ
And
P
1\
17\
-*
-'1IIj
=
Alto
eJ
Tenor
,;
Bass
.
* - Hold till out of breath
e 1995 by MICH Ltd.
pp
=====
U U I
2
Q.
3 II
L
,
:;
-
"
!----
Cello
l:=1::l::I U U I
)3
~UUI
I
Mar.
-i)
13
Perc.
Alto
1\
I
tJ
And
"
pO
tJ
,
t:"'I.
"'if
-"'if
:::::=-- "
~.
1==-----"
Tenor
\'
Bass
-
'f1J,
Il!!!I
a.
tJ
Cello
'j!J
Mar.
tJ
20
Perc.
"
tJ
Alto
"
tJ
/I
Tenor
Bass
"'if
.
"
.... U U I
--""U U
I
3
~~
o.
=-
""iT
Cello
.
,
~
I:i:d:d U U I
~UUI
Mar.
"'ou>
i.l
26
Perc.
Sq>.
......
1":',.
"
-.:f
And
P
II
-'TIff 1":',.
=
Alto
"""iT
And
P
I
I
~
And
-'TIff
-
=
1":',.
Tenor
Bass
.
P
=--'TIff
=
-0.
=
Cello
Mar.
33
Perc.
I":',
Sq>.
And
P
'TIff
=
1":',.
Alto
And
=
P
'IIIf 1":',.
P
m
Tenor
=
1":',.
Bass
P
~
='IIIf=
4
;0,
a.
•
0
Cello
to
Mar.
iJ
40
Perc.
S~.
........
"
-.l
Alto
And in- deed there:
'TIff
"
..
..
-6-
And in- deal
will be lime
t.>
,
And
in - deal there: will
'TIff
I
there will
be
lime
a
it
be lime
I
a
pre-pare
II
Tenor
f
: : } in - deal there will be
lime
0
Bass
And
-
'TIff
7 II
in - deal there
will
be
lime
o.
-.l
areo
e--
o
-e-
Cello
'1IlfJ
areo
7
Mar.
u _ 1-'''
-.l
47
Perc.
S~.
-.l
Alto
,
I
"
facc
to
~d
meet
And
lime
lime far
~
all
the wmks
and
"
-.l
in
And
-
deal
there:
will
deal
there:
will
be
there
will
be
lime
I
II
Tenor
,;
the ~ fa - ccs
f'-
that
L
fa - ccs
that
~ft.
l
you meet;
And
in
'L
-
0
Bass
the
you meet;
And
in - deal
5
~JI
Q.
-.l
·
Cello
12
Mar.
~
52
Perc.
Sop.
"
-.l
Alto
~f
daY"
..
-
ODd
you
I
"
-.l
Tk:1..
That lift
hands
time
be
~-
ODd
TIme for you
lift
That
I
~~
Tenor
f
That
time
~
~ ~
·
Bass
That lift
-
1,.
I
-
ODd drop
""""""!
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L
'"'
-
I
Tk:1
.......,..
you
.......
I
Tunc f .. you
on your plate;
ODd
FII
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Q.
";1
~
m.f
·
Cello
areo
7
Mar.
-.l
57
Perc.
Sop.
-.l
Alto
time
for me,
time
me,
"
,;
Bass
--~or
us
to
-
wait
ODd sec,
Tunc f.. us
to
wait
ace,
"
-.l
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•
"
.
~
.
ODd
you
·
I
time
me,
time
for me,
•
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.......,
Tune f.. us
-
to
I
wait
us
to
wait
ODd sec,
6
f~
-
o.
Cello
I
..,
--
·
-
It.,,-
.........
--
I
It. b.-.
--
-;1
'IIlj'
§3
Mar.
..,
63
Perc.
Sop.
.-
"
~: in- cIcm there
e.J
Aho
~
will :":mc ......To
L
-
won- del',
...........
won- dcr,
"
..,
w!.-~
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~
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·
won- de.-,
-
o.
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r-- 3 - - - ,
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/I
l
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i
ill
Cello
r - 3 ---,
§II
..
Mar.
tJ
..
.
!!
!!
!!
arco
!!
68
Perc.
r-- 3 - - - ,
,..
Sop.
Alto
..,
:>
L
1\
:>"
I date?"
and,
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and,
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"
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:>
If
:>
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I
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Bass
·
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I due?"
and,
f
"Do
f
I due?"
and,
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I
Wc mUll'
-
>-
due?"
Wc
"
Tenor
,;
-
due?"
r--~----:J
II
"Do
"
~c
mUII'~c
-
n"fw
'to
fate."
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! n"fw
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fate."
::
nl:::"'""to
,ate."
11
Wc mUll' leavc
~ L
it
Wc mUll' leave
it
,.. f1fC
now
to
fate."
:0.
7
J:lJl
p.-
'(L
a.
"iY
~
Cello
J:l
~UUI
_1
Mar.
"iY
72
Perc.
...... .. .. ...
1\
Sop.
-;r
And in- deed there
will be time
'IIff
1\
And
in-deed
there will
be time
Alto
--.r
And
in - deed there will
be
1Iff
I
time
I
II
Tenor
--xrur
J
.
Bass
in
deed there will be
time
'IIff
And in- deed there
?Il
]!IJI
-0.
"iY
Cello
.
~
Mar.
-;r
79
Perc.
1\
Sop.
-;r
1\
Alto
-;r
,
Tenor
--.:r
Bass
~L.JUI
will be time,
Our World
Score
Michelle Yaiser
Moderato J = 90
't-ery intense
-,.. fI- fI- fI-
,
~
It
A
~ f'- f'- A-
:;;
:;;
fI- fL A-
Flute
t.!
./tintense
" »
Garinet
il
b~
fI- fI- fI-
ff
very intense
" »
French Hom
iJ
If.; • • •
...
~
p..;--
ff
b~V1in~se~
.~
L
~
~ ~ ~ ~
..
iiii-
b:':-
iff
Cello
ff
very intense
lIa
.
Marimba
i
~ ~ ~
,
~ ~ ~
lI"
ff
v~intense
1
==
Yunpani
:>
•
•
:>
-
-
ff
1
•
"
-
-
Percussion
:>
~
A
fLfI-fI-fI-
:>
:>
fL fI- fI- fir
!II-
:>
:>
fl-fl-f'-f'-
fI-
:>
fI-1
f'- f'-
~
-,.. f'- fI- fI- fI- fI- fI- II- fI- II- fI- fl-
b
A
~ fI- f'- fI- fI- fI- fI- ~ fI- =;. fI- 11-
!i
tt~~~~~~~~~~
Fl.
=--=
t.!
II
1\
b~ fI-
A
fI- fI-
b~
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t.!
II
1\
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EHn.
t.!
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~~~~
~
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~~~~
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~ ~~~~
Iii
:>
Cello
Mar.
-Yunp.
.
".
== "
,
.
==
:>.:>
-~~
Perc.
"
,
•
a:~~
=
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-
11:>
•
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.
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2
Adagio
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tJ
ft II
J=60
v~ryrubato
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I
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I
~
"'ff
o.
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ft II
PI'
".0.
F. Hn.
~
~~ ~~~~~~~~~t!:~i~i
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Cello
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Mar.
7
..
·
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7
..
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-
>-
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Perc.
3
duet widt Hn.
•
11
Fl.
T
el
"
1
I
!'
"
I
-,...
II
0.
~
F. Hn.
,,~.
"
;t.
very rubato
duet widt flute
II
iJ
mp
lIn
Cello
PI'
Mar.
·
13
Tunp.
·
13
Perc.
---
oJ>
~
3
......
jl
Fl.
,
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.....
,
•
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:;.
P.
Il
I
--
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.-
p. .
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I
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a.
"
F. Hn.
4·
~.
eJ
II
..,
~
J~
~
~.
IJ~'
-V-
I'"
Cello
·
Mar.
21
·
Tunp.
21
Perc.
J =90
~
tenitively
Fl.
•
I
II
1\
.....
I
1:1.
,.
~
IO!!!I!IIII
..
~
..
'IIlp
tenitively
Cl.
~7
~
'IIlp
i
II
1\
F. Hn.
1'7..
~
I
Cello
I'"
Mar.
29
Tunp.
·
29
Perc.
.,.t.
."
-r-."
..
4
-
.....
~
Fl.
tJ
DIll
II
1\
o.
-.r
.
ertse. poco a poco
~
~
.
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't:~t:
II .1. •
..
-
-
er. !,fe. poco a poco
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.
II
1\
F. lIn.
--.r
'f:~"--~'
I . .,.
Cello
Mar.
.,
35
Tunp.
35
c-
Perc.
~
.,
t.J
II
1\
r
t.l
1\ II
F. lIn.
t.l
lIn
Cello
1\
Mar.
-.r
.
38
38
Perc.
~.
I~
• II ..
--"
..
~
o.
Tunp.
-
11 .. 1..
Fl.
'r
..
~
ft:
~~
5
-
Fl.
o.
F. Hn.
Cello
Mar.
Tunp.
Perc.
Fl.
o.
F.Hn.
Mar.
Tunp.
Perc.
6
~1
Fl.
.J
"
I L>-.
II
>-
Cl.
.J
P
"
II
EHn.
eJ
• .j.._. b,..
I.,n
b,..~
1411.
i: ~ ~
•
Cello
.-.
i-
tell.
tell.
-
I
I
Mar.
"
il
.
51
Tmtp.
r-,
~
-
....., ....., ,.,
-~~
r"'i
V V
51
r.\
..
~
Perc.
I
I
I
I
I
I
I
~
eJ
"
II
tl
EHn.
"
:>-
-
..
'. L>-
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.. .
-
~
.
~
. I·
>-
l'
V V
.- -
Jss
=
~
Fl.
Cl.
I
I
~
----
--
'1 ~
'1
II
tl
~-.-'"
~
J
'lin
ten.
Cello
Mar.
"
to vibes
.
55
55
Perc.
---
~
f
vibes -s~
...'IIff
.J
Tmtp.
• #-::--...
to marimba
~-
marimb - soft malleu
'IIff
.....
~
..-....
..,
L~
..,----
RO
Fl.
o.
F. Hn.
..,
~
~
..,
..~
~
~
I,..0oI
~
..
.---
lin
.
~
....,
~
~
V
..,
..
"
I"
~
~Q
~
~
--.
.
-u-
III""
.
...
~
..
.
/
.ri.
~
~
80
Tunp.
I
10"'"
--
1\
~Q
~
L
Cello
Mar.
~ ~~
"
~-
I,..0oI
" »
..,
-
~p.
1,..J.
~
" »
....
7
'-J
~
L~
L~
..
~
~
•
""""
h~
L-e-
I
80
Perc.
-
..
~
F1.
~
o.
..
" »
~
"""'-l
..
~I
,..
--
,.
---
,......,
All
..
· .. n
Cello
.. ""-
"
~
~
.
66
Tunp.
66
Perc.
~
".
l
~
---
~
~
,-- ~
----
I,..0oI
..
y
-
~-I
Mar.
~
;;a-..
r-o
I
~
"'"
.
-
-
.......""
I
----
10"'"
/'fT" ~
,""",.
I,..0oI
~
~
I,..0oI
~
F. Hn.
--.:r
--
--•
~
-
..::::--
.
•
L
100""
..:::;.
~
•
..
" ..
l
-~
8
-
-
It
Fl.
-.r
II
-
--"
-
-
• n.
I
.---:.
Cello
~
~
1\
~
.
72
;iiiIt
~
.
-.r
Tunp
:;.
monNio
~
II
Ii
rit.
~r--_
~
EHn.
~
l,...,I
~
Cl.
tr
....L.
~
1\
Mar.
wryrubato
~
....
---- - -
1
moreNio
very~to
:;;
~
--
:;;
~
~
.....
n.
~
tomarimb
.~
=qli'"
e
more1ldo
e
to timpani
e
t-
moreNio
72
-
Perc
-
...
~
90
very intense
Fl.
~l'-l'-fI.
l
~
~I'-I'-A
:>
~fl.fI.~
'=
=;; - - -
7f'
t:r
.!lintense
1\
Q.
II
b~
II- fI. fI.
~
-.r
ff
very intense
II
1\
E Hn.
~
Cello
4-
r--.r
..
If.: • • •
~
/
~
vJJ'IDtense
li ~ ~ ~
~
~f!~~
b~
JJj
~
-
ff
=
very intense
I~! ~
1\
~
• ::
...,...
Mar.
-.r
.
79
Tunp
79
Perc
ff
'= .•
very intense
::;;:
ff
.
i~lt
•
,
:>
~
oF'
,
:>
-
-==--
•
-
9
r
:>
A
-".. I'- I'- I'-
ii-
il'-I'-A
:>
ii-ft.l'-fI.
jil.
A
11-1'-1'-1'-
"jI.. I'- fI. fI. fI. fI. fI. fa. fI. fa. fI. fI.
......
Fl.
e)
ILII
~~ fI.
~;
~fl.fl.A
A
fI. fI.
~A ~ I'- fI. fI. fI. fI. fI. ~ fI. ~ fI. fI.
~ ~fI.fI.fI.
;fI.fI.fI.
~
e)
,., II
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-~
F. Hn.
e)
..."
~~~~
~
~~~~
I~~ ~~~~
i
i~~~
~ ~~~~~t~~~~~~
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......
i i~~~
=--= ==
~'i i~~~~~~'i~i~~
Cello
=; 'i~~~
•
::-
Mar.
·
B3
~~ ~ ~ ~
:;;
11
, == ,
::-
a
a:>
=
:;;
a
11:>
a
--- - - ----
TImp.
-~
B3
Perc.
r
JI. fI. fI. fI. ~ fI. ~ fI. fI. fI. fI. fI. fI. ~ fI. ~
Fl.
e)
,., II
~fI.
fI. fI. fI.
~
fI.
~
fI. fI. fI. fI. I'- I'-
~
I'-
~
o.
e)
,., II
"..0.
F. Hn.
e)
I.,n.
~~~~~~~~~~~~~~~~
Cello
Mar.
·
96
·
96
Perc.
j~ ~ ~ ~
•
11
i
==
-
~
~ ~ ~ ~ ~ ~
i
:>
-
a
..
-
i
:>
~
i
:>
a:>
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~
------
,
a
11:>
-
--- --- ----
==
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•
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--..;;;
~
Jlticfiette 'lJai&e't
infwt
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\
/
;'
.'
\
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/
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/
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\
\
st£#{J,;)01(
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/
/
/
/
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cOMPiJ~J(I1
og-{
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.
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i
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--------..--
lJ:r;d~v.
r:~hruary
1' .....
..,
II
•
.......
~
. .,o P M
~;~
__
Pruis Hall
e
17
Youth Symphony Orchestra
of East Central Indiana
Date:
January 25, 1995
To:
Sandy Melchior
Danielle McKee
Marc Coulomb
Brad Gunyon
From:
Mike Gagliardo
Re:
Rehearsal times for Michelle Yaiser '5 "A Knights Gift ... "
Andy Mellang
Nathan Miley
Jim Green
Greetingsl I hope this finds everything going well for you as the semester
begins.
I am in the process of trying to establish a rehearsal schedule for
Michelle's recital, and need your help with this. As you know, the
performance is on Friday, February 17, at 5:30 pm in Pruis Hall. Please
plan on arriving at Pruis by 5:15 pm. I am not yet sure of the performance
attire. I will talk to Michelle and inform you of this at the first rehearsal.
The dress rehearsal is scheduled on Thursday, February 16, from 10:00pm
to 12:00 am in Pruis Hall. I am not sure what other works are on the
pro~)ram. However, I can tell you for certain that our portion of the
rehearsal will be at the beginning of this time.
I need your assistance in scheduling the remainder of the rehearsals fur
this performance. In order to help with this process, I need a copy of each
of your free time schedules (weekday and weekend). You may leave them
in my mailbox in the music office (box #76), on my desk in the orchestra
office (MU 123B, first desk on the right as you come in the door), or give
them to me personally. Please have these schedules to me no later than
5:00 pm next Monday (1/30). I will have a rehearsal schedule set for you
on Tuesday of next week. Thanks for your help with this processl If you
have any questions, please stop by my office or give me a call at 2819667.
-
·
\
Youth Symphony Orchestra
of East Central Indiana
Date:
January 25, 1995
To:
Members of the Ball State University Concert Choir
participating in Michelle Yaise"s senior composition recital,
"A Knight's Gift To His Princess"
From:
Mike Gagliardo, conductor
Re:
Rehearsal times
Greetings!
begins.
I hope this finds everything going well for you as the semester
Thank you for agreeing to participate in the performance of Michelle
Yaiser's "A Knight's Gift To His Princess" on her senior composition
recital. It is great to see our BSU composers writing for voices, and even
better to see our students volunteering to assist in the performance. I'm
sure it will be a wonderful experience for all involved!
I have established the following rehearsal schedule for the piece:
Monday, January 30
Monday, February 6
Monday, February 13
3:50 - 4:30 pm
3:50 - 4:30 pm
3:50 - 4:30 pm
MU401
MU401
MU401
For one of these rehearsals (probably the one on 2/13), I will attempt to
have the musicians who are playing on this movement present so you can
get a feel for how the piece will work with instrumentalists, rather than
piano. Because of the nature of the piece and of the instrumentalists' and
your schedules, it will probably be necessary for you to attend one of the
instrumentalists' rehearsals. The rehearsal schedule for the
instrumentalists has not been set yet, but will be established by next
Tuesday (1/31). I will let you know at that time when we will plan on
having you attend one of these rehearsals. If you are unable to be in
attendance at the Monday rehearsals but would still like to participate in
the performance, please keep in mind that there will be this additional
-
rehearsal plus a dress rehearsal for you to attend.
The dress rehearsal is scheduled on Thursday, February 16, from 10:00pm
to 12:00 am in Pruis Hall. I am not sure what other works are on the
program. However, I can tell you for certain that our portion of the
rehearsal will be at the beginning of this time, and that the movement of
the piece that you are participating in will be first on the rehearsal
schedule. Plan on being out of this rehearsal no later than 10:20 pm.
The performance is on Friday, February 17, at 5:30 pm in Pruis Hall.
Please plan on arriving at Pruis by 5:15 pm. I am not yet sure of the
performance attire. I will talk to Michelle and inform you of this at the
first rehearsal.
Thanks again for your help with this process! If you have any questions,
please stop by my office (MU123B) or give me a call at 281-9667.
-
-
-
Youth Symphony Orchestra
of Eas tee n t ra 1 In d ian a
Date:
January 3 " 1995
To:
Sandy Me 1chi or
Dani ell e McKee
Marc Coulomb
Brad Gunyon
From:
Mi ke Gagl i ardo
Re:
Rehearsal schedul e for Mi chell e Vai ser's "A Kni ght's GirL .....
Andy Mellang
Nathan Mi 1ey
Jim Green
Greet i ngs! (And sal utat i onsD I hope your semester is off to a good start!
I have set the foll owi ng rehearsa 1 times for Mi chell e's "A Kni ght 's GirL ..... :
-
Sunday, February 5 7:00 - 8:00 pm
Thursday, February 9 10:00 - 1 1:00 pm
Sunday, February 12 8:00 - 9:00 pm
Monday, February 13 3:50 - 4:30 pm
5TH MOVEMENT ("FUTURE") ONLV!!!!!
MU123
MU123
MU123
MU401
I am aware that some of you r:nay have a conflict with these rehearsal
times. However, this is the most convenient rehearsal schedule that I
could come up with. If you do have a conflict with any of these rehearsal
times, PLEASE LET ME KNOW IMMEDIATEL V!!!!! We will not alter the
rehearsal schedule; however, I do need to know whether or not to expect
you at these rehearsals.
Agal n, a remi nder that the ·dress rehearsal is schedul ed on Thursday,
February 16, from 10:00pm to 12:00 am in Pruis Hall. I have been assured
that our port i on of the rehearsal wi 11 be at the begi nni ng of thi s time. The
performance is, of course, set for Friday, February 17, at 5:30 PM in Pruis.
Informat i on regarding concert attire will be gi ven to you at the fi rst
rehearsal.
Thanks for your help with this process! If you have any questions, please
stop by my office or give me a call at 281-9667. See you on Sunday!
Youth . Symphony OrchestrtJ
of East Central Indiana
Date:
January 31, 1995
To:
Members of the Ball state Uni versity Concert Choi r
participating in Michelle Vaiser's senior composition recital,
"A Knight's Gift To His Princess"
From:
Mike Gagliardo, conductor
Re:
Rehearsal times
Greetings! I hope your semester is off to an excellent start!
Thank you again for agreeing. to participate in the performance of Michelle
Vaiser's "A Knight's Gift To His Princess" on her senior composition
recital. I just wanted to drop you a short note to remi nd you of the
remainder of the rehearsal schedule for this work.
The following Monday afternoon rehearsals remain:
Monday, February 6
Monday, February 13
3:50 - 4:30 pm
3:50 - 4:30 pm
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For the rehearsal on 2/13, I have asked the musiCians who are playing on
thi s movement to be present so you can get a feel for how the pi ece wi 11
work with ins t ru men tal i s t s, ra the r t han pia no. Ass tat ed be fore, be c ause
of the nature of the piece and of the instrumentalists' and your schedules,
it will be necessary for you to attend (if at all possi b1e) one of the
instrumentalists'rehearsars. The rehearsal schedule for the
instrumentalists has been set, and the rehearsal that I would ask you to
attend if you are available will be as follows:
Sunday, February 12
.
8:00 - 9:00 pm
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Once again, I can tell you that the movement of the piece that you are
participating in will be first on the rehearsal schedule. Plan on being out
of this rehearsal no later ~h.an 8:20 pm. Remember, if you are unable to be
ln attendance at the Monday rehearsals but would stll111ke to partlclpate
1nth e perf 0 rm anc e. p1eas eke ep 1n m 1n d t hat the re w 111 bet h1sad d1t1 0 n al
rehearsal plus a dress rehearsal for you to attend.
Reminders:
The dress rehearsal is scheduled on Thursday. February 16. from
10:00pm to 12:00 am in Pruis Hall. I am not sure what other works
are on the program. However, I can tell you for certain that our
portion of the rehearsel w'ill be at the beginning of this time, and
that the movement of the piece that you are participating in will be
first on the rehearsal schedule. Plan on being out of this rehearsal
no 1ater than 10:20 pm.
The performance is on Friday. February 17, at 5:30 pm in Pruis Hall.
Please plan on arriving at Pruis by 5:15 pm. I am not yet sure of the
performance attire. I will talk to Michelle and inform you of this at
the next rehearsal.
Thanks agaln for your help with this process! If you have any questions.
pl ease stop by my offi ce (MU 1236) or give me a call at 281-9667.
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Youth Symphony Orchestra
of East Central Indiana
Date:
February 8, 1995
To:
Sandy Melchior
Danielle McKee
Marc Coulomb
Brad Gunyon
From:
Mike Gagliardo
Re:
Rehearsal schedule for Michelle Yaisef's "A Knight's Gift. .... "
Greetings!
(And salutations!)
Andy Mellang
Nathan Miley
Jim Green
I hope your semester is off to a good start!
Just a short note to remind you of the rehearsal schedule for Michelle's "A
Knight's Gift.. ... ," including our change in rehearsal times on February 9.
Thursday, February 9 10:00 - 11 :30 pm
Sunday, February 12 8:00 - 9:00 pm
3:50 - 4:30 pm
Monday, February 13 5TH MOVEMENT ("FUTURE") ONLY!!!!!
MU123
MU123
MU401
If you do have a conflict with any of these rehearsal times, PLEASE LET ME
KNOW IMMEDIATELY!!!!! I do need to know whether or not to expect you at
these rehearsals.
Again, a reminder that the dress rehearsal is scheduled on Thursday,
February 16, from 10:00pm to 12:00 am in Pruis Hall. I have been assured
that our portion of the rehearsal will be at the beginning of this time. The
performance is, of course, set for Friday, February 17, at 5:30 PM in Pruis.
Information regarding concert attire will be given to you at the first
rehearsal.
Thanks for your help with this process! If you have any questions, please
stop by my office or give me a call at 281-9667. See you on Sunday!
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