ebrary_sheet_music.pdf

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Sheet Music

Online

T u n e u p Y o u r C o l l e C T i o n

w i T h o n l i n e S h e e T M u S i C

f r o M e b r a r Y !

Libraries may now offer multi-user access to a print-

on-demand database of more than 9,000 sheet music

titles from Duke University and CD Sheet Music.

ebrarys Sheet Music Database features titles fromworld renowned composers such as Bach, Mozart,

Schubert, and Tchaikovsky. It also includes original

titles published between 1850 and 1920 by famous

composers such as Irving Berlin, Stephen Foster,

Jerome Kern, and John Philip Sousa.

Addit ional Benefits

Available at any time, from any computer with

Internet access

Ability to take notes alongside a page

Personal Bookshelves store links to notes and

bookmarks

Multiple search options

PDF-based technology maintains the exact

appearance of the original works

Reporting tools show how content is being used

while protecting end-user privacy

Affordable FTE-based pricing

eBooks evolved


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T h e C l a S S i C S

ebrarys Online Sheet Music includes more than 6,000

classical sheet music titles for bands, orchestras, instru-

mentalists and vocalists from world-renowned composers.

High Notes:

Bach (Complete Church Cantatas and Keyboard Works)

Beethoven (Complete Works for Solo Piano, Complete

String Quartets, Major Works for Orchestra)

Brahms (Complete Works for Solo Piano, Complete

String Quartets, Major Works for Orchestra)

Chopin (Complete Works for Solo Piano)

Haydn (Complete Keyboard Sonatas, String Quartets)

Mozart (Complete Works for Solo Piano, Major Works for

Orchestra, String Quartets and Quintets)

Scarlatti (Complete Keyboard Sonatas)

Schubert (Complete Works for Solo Piano,

Complete Songs)

Tchaikovsky (Major Works for Orchestra)

Puccini, Verdi, Wagner (Complete Opera Vocal Scores)

M a K i n G h i S T o r Y

For the first time, librarians can enable musicians to search

view and print digital replicas of early American sheet music

titles online. These titles are available to any number of

musicians, at any time, from anywhere.

High Notes:

Alexanders Ragtime Band (Berlin, 1911)

Deep River (Burleigh, 1917)

Nobody Knows the Trouble Ive Seen

(Burleigh, 1917)

Little Brown Jug (Eastburn, 1866)

Way Down Upon the Swanee River (Foster, 1894)

Whose Baby are You (Kern, 1920)

Stars and Stripes Forever (Sousa, 1989)

The Liberty Bell March (Sousa, 1893)


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a C a S e S T u D Y

Could You Lend Me A Tenor?

ebrarys Online Sheet Music Database Helps

Little Travers Civic Theatre Produce Acclaimed

Musical Comedy

On its Broadway debut in March 1989 Ken Ludwigs

Lend Me A Tenor was hailed by reviewers in the New

York Times, Variety and other publications as one of the

funniest musical comedies to appear in many years. An

uproarious farce blending slapstick with classical opera,

the play recounts the travails of world-famous tenor, Tito

Morelli (known to his fans as Il Stupendo), as he attempts

to make his U.S. debut. Tito is slated to star in a Cleveland

Grand Opera Company performance of Verdis Otello, but

arrives too late for rehearsal, then takes sick with stomach

problems. When he passes out after a little too much

red wine and an accidental double dose of tranquilizers,

Saunders, the General Manager, presses his assistant Max

into service as a stand-in. But when Morelli miraculously

recovers and insists on taking the stage, bedlamensues as the opera company has to contend with two

combative tenors, multiple cases of mistaken identity and

serial misunderstandings.

From the audience standpoint, Lend Me A Tenor would

seem to be a straightforward musical comedy with fast-

paced action and a sequence of increasingly zany situa-

tions. From a theatrical production standpoint, however,

Lend Me A Tenor poses some thorny issues.

Which is what director Gary Albert

quickly learned when he began

rehearsals for the play with the

Little Travers Civic Theatre (LTCT)

in Petoskey, Michigan. In particular,

because it is essentially a play

within a playor more accurately,

an opera within a playLend MeA Tenor requires that the cast and

director have a solid grounding in

classical opera, and more to the

point, a command of Verdis Otello.

In order to get the musical segments of the play just right,

Albert real ized, he would need the original score.

Fortunately for Albert, the LTCT is located near North

Central Michigan College (NCMC), which has an excellent

performing arts library, including a copy of the grand staff,

or conductors sheet music, for Otello. Taking the initiative,

Albert checked out the score and brought it with him tothe first rehearsal. Problem solved? Not quite. Opera grand

staffs are large, bulky volumes containing detailed parts for

every instrument within an orchestra. As such, the one that

Albert checked out of the NCMC l ibrary was almost com-

pletely unworkable for cast members who simply needed to

learn a few select scenes, melodies and dialog from Otello.

Eric Grandstaff, who was starring in the play as Morelli,

recognized the problem right away, and he recognized a

solution as well.

(continued)


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The Show Goes On

A veteran actor and trained operatic tenor, Grandstaff

also happens to be the Director of Library and Aca-

demic Technologies at NCMCa happy coincidence

one might expect to encounter only in the theater

world. What we really needed in order to learn the

Otello material from Lend Me A Tenor was a rehearsal

version of the score, said Grandstaff. Actually, we

were looking for certain excerpts from a single duet ordueto between the compadres Don Carlo and Rodrigo.

Fortunately, we were rehearsing in St. Francis Xavier

church across the street from the library, so I was able

to quickly access a rehearsal version of the Otello

score using a wifi-equipped laptop and our ebrary

database at the l ibrary.

Director Albert and the rest of the cast

and crew were amazed at how easy it

was for Grandstaff to find the appropriate

score. When we cast Eric as Morelli we

knew we were getting a fine tenor anda comedian with excellent timing and

instincts, said Albert. But it was his talents as a

librarian that got the production off to a great start.

The score that Grandstaff accessed through ebrarys

sheet music database contains parts for piano and

two voicesexactly what was needed for the actors to

learn their parts. The rehearsal score is much easier

to use because its short and succinct,

said Grandstaff. With ebrary, it was easy to locate the

rehearsal score, select the featured dueto, and print

out a few copies of just the parts that we needed on

the printer at the theater. Bam, ready to go.

ebrarys sheet music database provides simultaneous,

multi-user access to a unique, view- and print-on-de-

mand database of more than 9,000 digital sheet music

titles from world-renowned composers such as Bach,

Mozart, Schubert, and Tchaikovsky. It also features

original titles published between 1850 and 1920 by

famous composers including Irving Berlin, Stephen

Foster, Jerome Kern, and John Philip Sousa.

For Grandstaff, Albert and the rest of the LTCT com-

pany, alls well that ends well. Lend Me A Tenor com-

pletely sold out its two-week run, and the reviews were

uniformly glowing. One local critic found Grandstaffs

performance phenomenal, and went on to note that

although tastefully risqu at times, the talent and

humor were ever-present in this amusing production.

For more information about ebrarys full-text book

databases vis it www.ebrary.com.

ebrary_sheet_music.pdf

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