SIGN-UP AND JOIN THE BLACK ROCK PHILHARMONIC
"Where words fail, music speaks."
- Hans Christian Andersen
Play with Black Rock Philharmonic
Welcome to sign-ups to perform for the 2026 Season of the Black Rock Philharmonic!
We’re excited to welcome musicians old and new. The season is led by Music Director Eric Yttri, with support from the Black Rock Musicians Collective. Download your parts below, review the full schedule, and consider joining PULSE—our symphonic electronic project with conductor Meir Briskman.

2026 Sheet Music
Sheet music is available to BRP musicians. Enter the password to view and download parts.
Incorrect password. Please try again.
Our 2026 program includes Karl Jenkins’ Palladio (orchestral version), Léo Delibes’ “Flower Duet” from Lakmé, Tchaikovsky’s Swan Lake, Manuel de Falla’s “Ritual Fire Dance,” Beethoven’s “Ode to Joy” and Symphony No. 5, Queen’s “Bohemian Rhapsody,” Rachmaninoff’s Vocalise, Verdi’s “Dies Irae” with Playa Choir for the Thursday Deep Playa concert at Titanic’s End, Celine Dion’s “My Heart Will Go On” (Titanic theme), and an optional Habanera from Bizet’s Carmen. Please download, print, and practice your parts.
PULSE sheet music is also included below. PULSE sign-ups are separate from the main orchestra form and require extra commitment (additional preparation and Playa rehearsal). See PULSE details.
2026 Sheet Music
Select your instrument part below. Links open in Google Drive. Classical practice tracks (Palladio, Swan Lake, Flower Duet, Ritual Fire Dance, Beethoven 5, Vocalise, and Verdi Requiem) are in this BRP Practice Tracks folder.
Palladio
- Practice with a metronome at 110 BPM, so that 100 BPM feels easy, comfortable, and natural.
- Everyone playing short notes in passages of sixteenth notes or eighth notes: think in terms of the phrase, not the individual bar. Sometimes the phrase is 4 bars long, sometimes 6.
- Examples: bars 7 and 23 — Clarinet, Cello, Double Bass, and Viola: think in units of 4 bars / 16 beats.
- Bars 35–42, Clarinet: crescendo through the long notes.
- Alto Saxophone, bar 37: crescendo through the long notes.
Swan Lake
Everyone playing up to the fermata in bar 18: As you play, listen to the rhythmic tension created by the harp’s triplets, and to the release of the polyrhythmic tension at the ends of bars 11, 12, 13, 15, 17, and 18, when the harp stops playing.
Flutes, oboes, and clarinets — triplets in bars 26–37: This music, like all great 19th-century music, calls for a sense of moving forward and pulling back. Please practice this passage with a metronome, and ask a friend to slightly adjust the tempo faster and slower while you are playing. The idea is to develop flexibility and the ability to respond naturally to tempo changes while playing the triplets.
Bars 48–51 and through to the end: Unlike many traditional performances, we will not slow down heavily in bars 50–51. Instead, we will maintain the forward-moving energy of the Più mosso from bar 48, essentially all the way to the end of the piece.
Ritual Fire Dance
(from Danza ritual del Fuego until Escena)
Flower Duet
(from Lakmé)
This is a dance. The music is constantly moving back and forth. Sometimes it is one bar forward, then one bar back, as in bars 1–2. Sometimes it is three bars forward and one bar back, as in bars 21–24. But this sense of movement should always be very present. Don’t play it — dance it.
Basses: you are the ones opening the door for us into a new world, or bringing us back home — usually with pizzicato. Bars 17, 41, 57, 69, 101: wait. (And of course, we will wait with you…) Play only when the beat has already arrived and it simply feels impossible not to play.
Bar 64 — dear flutes and clarinets, and in bar 112 also first violins, second violins, and violas: separate beats 2 and 3, and connect beat 3 to the long note that follows.
We already begin to hesitate and prepare the ritenuto in bar 55, starting in piano at the mixture in bar 45.
As with the rest of our music, practice it with a metronome and take it faster than the indicated metronome marking, so that you feel completely comfortable and relaxed at our performance tempo.
Ode to Joy
(from Beethoven’s 9th)
Bohemian Rhapsody
(F. Mercury / Queen)
Dies Irae
(from Verdi’s Requiem — with Playa Choir)
Updated 8/17 — new measures added 46–62.
Habanera
(from Bizet’s Carmen)
On Thursday, Madi (Playa Choir lead) will sing Habanera. We would love people to join — totally optional.
Vocalise
(Rachmaninoff, Op. 34 No. 14)
Beethoven Symphony No. 5
(1st movement excerpt)
My Heart Will Go On
(Celine Dion — Titanic theme)
PULSE
Symphonic electronic project with Meir Briskman. Sign-ups are separate and require extra commitment. Parts are grouped by instrument (songs 01–21 in each folder).

2026 Schedule
Working schedule (weekdays and times; calendar dates TBC):
- Sun 4–6 p.m. — Rehearsal, Red Nose District (5 & Esplanade); optional but encouraged
- Mon 9–11 a.m. — Rehearsal, Playa Choir Dome (6 & D)
- Tue 9–11 a.m. — Rehearsal, Center Camp Solar Array (setup from 8 a.m.)
- Wed 5:00 p.m. — Performance, Gothic Folly — art car Air Pusher
- Thu 6:00 p.m. — Performance, Titanic’s End with Playa Choir (Dies Irae); optional Habanera with Madi; sound by Bi-Polar Express; followed by Meir’s PULSE (art car TBA)
- Fri 9:00 a.m. — Performance, Temple

PULSE — Symphonic Electronic Project
PULSE is conductor Meir Briskman’s new work for a symphonic electronic performance, inspired by the 2024 Mita and Meir collaboration. It is an additional opportunity for BRP members. Sign-ups are separate from the main orchestra form and require extra commitment—additional music to learn plus one additional Playa rehearsal.
Performance: Thursday after Titanic’s End — Meir’s PULSE (art car TBA), with Bi-Polar Express on the main show.
Sheet music is organized by instrument in the password-protected music section above (Violin 1 & 2, Viola, Cello, Double Bass, Clarinet 1 & 2, Alto & Tenor Sax, Horn, Trumpet, Trombone, Bass Trombone, Percussion, FM Synth, and full score). Each folder has songs numbered 01–21.
Practice tracks: PULSE practice tracks on Dropbox.
Reference: 2024 electronic collaboration

Volunteering and Support
We are raising funds for truck hire, percussion instruments, and general logistics. Extra help before or during concert week is always appreciated—email info@blackrockphilharmonic.us.
Supporters are hosting fundraisers in the San Francisco Bay Area and New York; volunteer performers (soloists, ensembles, or other formats) are welcome. Dates to be announced. Donate here.

Frequently Asked Questions
I would buy a cheap plastic instrument and bring that. Something like a used student model, or even a super low-end new instrument. Because here’s some real talk – your high performance beautiful intonation horn that makes you sound like an angel *will absolutely not* perform as it does normally.
I also come from a very humid climate so the shock to Bruce (my Playa bassoon) is something I actively have to mitigate. I feel compelled to add, since hearing that a bassoon goes out to the dessert might make you feel courageous: while Bruce means the world to me, she isn’t really a great instrument and had sat unused in the back of my closet for over a decade before attending That Thing in the Desert, AND I have a regular, non-playa bassoon for civilized non-desert feral situations.
If you can’t buy a cheap instrument, you could rent. I think a fair amount of people do. If I haven’t dissuaded you yet from bringing your treasured musical magic wand, there are tips and tricks I can share.
As for what you can expect while playing: your reed will dry out really fast if you’re still using cane reeds. Like while you are actively playing a passage. Consider getting a plastic reed. I usually have multiple reeds soaking so I can rotate mid-performance, but that’s probably not a viable solution for a single reed.
Keypads might fall off, and cork shrinkage might produce leaks. Bring extra pads, glue, and tooth floss.
You can make individual wrappers for each of the parts of your instrument out of thin disposable emergency blankets, wrapping them like pieces of almond roca inside the case. This will help ease the shock of transitioning to the desert atmosphere. I found they disintegrate too quickly to be of use all week, but it helps with the initial shock.
Clean, clean, clean, as best you can, each time. Sometimes that means just putting it back in the case as quick as possible until the whiteout passes, and then taking it back out to swab. (This year I’m considering bringing multiple silks, so I can use a clean one each time I swab so I’m never dragging a dusty silk through my instrument.)
And just as important as your instrument is your case. They make GIANT ziplock storage bags. I get one big enough to put my bassoon case in. I cannot recommend that enough. And if you DO end up renting, do not – I repeat DO NOT- bring the case they give you.
As wind players we have the added challenge to keep ourselves hydrated and fueled up enough to not pass out when we play. Really, really keep up with your water intake before and during rehearsals. Especially hydrate during the first practices, before you’re fully acclimated. Someone always locks their knees and passes out, don’t let it be you!!!
I’d invest in a super slim collapsible stand, we are tasked with bringing our own. Also, a small but sturdy camp stool or chair if you need it.
Put your music in a 3 ring binder and slip the sheets into those plastic sleeves with the holes. Bring paper clips or clips to hold the music down. In my experience, what works best for weighting the stand is a gallon jug of water, a carabiner, and a short length of whatever to lash them together.

Soloists
As an orchestra of 70-100 musicians, we are mostly interested in performing with one another rather than backing a concerto performance. We do, however, have a soloist perform at each show and occasionally other opportunities pop up. They have been some of best musical moments out there. To help us out with your application to be one of those folks, could you give us an recording / video, and what piece/song(s) you might sing/perform if you were given ~4 minutes? Plan on it being either be an a capella arrangement or have an arrangement for accompaniment by our fantastic pianist. We have a few other possibilities we can discuss as well. Also, if this YoYo Ma’s artistic management reaching out, you can assume all the stuff above is simply blather and tell us where, when, and how.
Email: info@blackrockphilharmonic.us

Playing at an Art Piece
For 2026 our Deep Playa and Temple performances are planned at Gothic Folly (Wednesday — art car Air Pusher), Titanic’s End (Thursday — Bi-Polar Express, Playa Choir, then Meir’s PULSE with art car TBA), and the Temple (Friday morning). See the full schedule.

Tickets/Camping
The Black Rock Philharmonic is pulled from all across the world, the United States, and in particular, Burning Man. As such we do not coordinate or arrange anyone’s camping arrangements. We love all our musicians but looking after the camping arrangement of 100 musicians would probably melt our collective brains. That being said, who and where you camp matters. Our advice is that you take the time to figure out camps from your local area (Facebook, etc) and starting NOW–figure out how compatible you are with various kinds of folks. Some people never want to sleep; some people want to dance all the time; some people are loud, some are quiet, some are minimalists, some take the kitchen sink to the desert. Figuring all that out and figuring how you want to Burn is–well, up to you. We’re glad that playing with us is part of that plan! And look forward to seeing you in the dust.

