eBooks evolved

Sheet Music
T u n e u p Y o u r C o l l e ct i o n with Online Sheet Music f r o m e b r a r y !
Libraries may now offer multi-user access to a printon-demand database of more than 9,000 sheet music titles from Duke University and CD Sheet Music. ebrarys Sheet Music Database features titles from world 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.

Online

Additi o n a l B e n e f i ts 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

T h e C LA S S I C s
ebrarys Online Sheet Music includes more than 6,000 classical sheet music titles for bands, orchestras, instrumentalists and vocalists from world-renowned composers.

M A K IN G HI S T OR 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: 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, CompleteSongs) Tchaikovsky (Major Works for Orchestra) Puccini, Verdi, Wagner (Complete Opera Vocal Scores) 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)

A CASE STUDY
Could You Lend Me A Tenor? ebrarys Online Sheet Music Database Helps Little Travers Civic Theatre Produce Acclaimed MusicalComedy 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, bedlam ensues as the opera company has to contend with two combative tenors, multiple cases of mistaken identity and serialmisunderstandings. From the audience standpoint, Lend Me A Tenor would seem to be a straightforward musical comedy with fastpaced action and a sequence of increasingly zany situations. 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 Me A 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 realized, 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 to the 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 library was almost completely 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)

The Show Goes On A veteran actor and trained operatic tenor, Grandstaff also happens to be the Director of Library and Academic 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 or dueto 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 library. 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 and a 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-demand 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 company, alls well that ends well. Lend Me A Tenor completely 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 amusingproduction. For more information about ebrarys full-text book databases visit www.ebrary.com.

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