Which method of viewing music should I use?
Score Exchange has two methods to display previews of music: seView which uses regular html and javascipt and the Scorch plug-in from Avid which needs to be downloaded and installed onto your computer. Both have advantages and disadvantages:
You do not need to install any additional software to use seView.
Scorch is a free plug-in from Avid for displaying and printing music. It can also play the music that you're seeing. As modern web browsers are updated, Scorch is no longer compatible with many browsers. Scorch has never been compatible with mobile devices and some web browsers on Mac computers.
If your web browser does not install Scorch automatically, you can click here to download and install scorch manually.
The static preview shows a basic image of the first page.
The interactive preview also shows a preview of the first page, but it's a bit slower to load. The preview is displayed using the Sibelius Cloud Publishing technology from Avid. With most scores, this technology will provide a higher quality preview, as well as being able to switch to full screen mode and also play the displayed music to you.
Printing after purchase
After you have purchased this item the Cloud Publishing technology is utilised to provide the printing mechanism for the music. As such, we recommend checking that the Interactive Preview displays correctly on your device before committing to a purchase.
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“On Ilkley Moor Baht’at” is the adopted anthem of Yorkshire folk. It’s a call-and-response song which asks the question (in Yorkshire dialect) “Where ‘as tha bin since I saw thee?” and goes on to suggest that the person to whom the song is addressed will catch their death of cold as a result of amorous adventures on “Ilkley Moor without a hat” (a rough translation of the title). Ilkley Moor is a real geographical location, situated at the elbow of Wharfedale - one of the Yorkshire Dales, an area of outstanding natural beauty.
In the party game "charades", one person tries (through mime) to give to the remainder of the assembled company, clues relating to a title or name of something. “Charade for Orchestra” uses the melody of the song as a source for its thematic material but never in its entirety. The melody is fragmented, re-shaped and, through several on-going transformations, a programmatic, evocative description of a walk up onto the moor emerges.
The opening is about anticipation, then there’s a stiff climb to reach the first ridge where the views for miles around are simply stunning. As the walk continues steadily upwards and momentum picks up, one passes waterfalls, huge rock formations and, eventually, ancient signs of moor dwellers from thousands of years in the past. Towards the end of the walk the subject can almost feel the presence of the early population of the moors as they danced at one of their festivals. Finally, the music leaves the listener with a warm glow, replete with golden memories of the journey.
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