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And Its Instruments , Must Necessarily Have Points Simi Lar with Works Written T HE W IN D —BAN D A N D IT S IN ST RUM ENTS N N TH EIR HI STO R Y , CO STRU CTIO , N A N D A C O U STICS , TECH IQU E C OMBI N ATIO N F OR DM S S D S M S U D S B A N A T E R , B A N E N , T E NT A N D T H E G E N E R A L R E A D E R BY H U R A C L PPE A R T . A ROYAL MILITARY SCHOOL OF M USIC ; SOMETIME TEAC HER OF MUSIC AT THE N TED ST TES MI T C DEM WEST PO N T U I A LI ARY A A Y , I WI TH N UM E R O US IL L US TKA TI ON S G C a p e -5 LO N DON WI L LI A M REE VE S 8 SS D 3 , CHARI NG CRO ROA , W . C . 1 9 1 2 P 1 1 1 CO YRIGHT , 9 , BY H ENR Y H O LT A N D C OM PA N Y To H Mainr I . A . m anna . s M ETI ED U AR Y (R R ), WHOSE PROFOUND KN OWLEDGE OF ALL THINGS PERTAININ G TO THE W IND- BAN D AN D N S M S IS A D I TRU ENT UNRIV LE , THIS BOOK IS IN SCRIE ED BY THE AUTHOR . PR EF A C E HIS on - T book , the Wind band and its instruments , must necessarily have points Simi lar with works written u concerning the orchestra , for wind instr ments at least some of them are the coloring elements of that organization . ins tru Again , in works treating of orchestration , wind R ments come in for consideration . egarded from much the same point of view as the painter looks upon his colors , they are there valued accordingly and discussed a s i in their relations prim ary colors , in their blend ng d iflusive possibilities to produce new tints , in their t capacities , in heir powers for vivid contrasts and for their qualities to enrich orchestra ensem ble. In neither instance are they dealt with as indivi du a lities of Special and distinct value , but rather as parts f o a whole and subordinate to string instruments . This of . condition results , course , from environment They are essentials , but aliens , and , though they may have the loudest voices , speak only by permission . Their o loquacious neighbors have m st to say , in fact , talk all t of k the ime and , naturally , insist upon priority ran in n their ow domain . Wind instruments have a republic of their own in the w - one ind band , where each is sovereign , not subject , vi PRE FAC E t and all may express themselves freely , for here they are i the paramount power . In th s book it is sought that each instrument shall be accorded respect as befits its specific importance . For that reason , the qualities of each are taken into consideration from the viewpoints of ni history , acoustics , construction , tech que and col lec tive utility . That the treatment is adequate to the im portance of the subject is not claimed . On the contrary , the author believes it possible to develop the themes and make a of . t work larger proportions At present , however , here is no book in the English language dealing with wind instruments and the wind - band in plan or scope herein in . i as attempted Errors and shortcomings may ex st , evitable with all pioneer work ; but thi s much may he of insisted , such incidents do not result from any want ’ the r i of desire , on author s part , to se ve the true nterests - the wind band and those who play its instruments . CO N T E N T S CHAPTER PAGE N D AN D S S M S . I . WI TRING IN TRU ENT IN GENERAL SS F OF N D S M N S II . CLA I ICATION BA IN TRU E T ON S S N D III . ACOU TIC OF WI D S P S OF N P S S M S IV . I CRE ANCIE TU E IN I TON IN TRU ENT ON M N D - DS V . FOR ATION OF WI BAN S - D N S M S VI . INGLE REE I TRU ENT THE CLARIONET , THE SAXOPHONE - V II . D D S M N S : O COR S OUBLE REE IN TRU E T THE BOE , ANGLAI , SS N S S P N E . BA OO , ARRU O HO P P S SID - M H : OP S . V III . EN I E WITH E BLOWN OUTH OLE FLUTE . SS S M S P P D M P : IX . BRA IN TRU ENT WITH CU E OUTH IECE THE H MP M N AN D FRENCH ORN , TRU ET , TRO BO E , CORNET A N S S XHOR . S M S OF P SS : D MS SID D M X . IN TRU ENT ERCU ION KETTLE RU , E RU , SS D M M S SP S BA RU , CY BAL , GLOCKEN IEL , BELL , XYLO P PS HONE , TRIANGLE , TRA THE D M S XI . BAN A TER S M S As To D S M S XII . O E FALLACIE WIN IN TRU ENT AN D D D- XIII . TONE COLOR TONE BUIL ING IN THE WIN BAND M S D M S D- D XIV . U ICAL YNA IC IN THE WIN BAN N D- N D XV . TECHNIQUE IN THE WI BA S M VV IN D XVI . EN E BLE IN TIIE - . N S P SAX M D I D IN XVII ANTOI E JO E H , THE FATHER OF O ERN W N STRUMENT CO N STRUCTIO N ACKNOWLEDGMENTS IN DEx . I L L U S T R A T I O N S - M MP S MP S AN GLo S MP . R O AN TRU ET, CHINE E TRU ET , AXON TRU ET “ ” D MP N M N H MP S CURVE TRU ET OR BUCCI A , RO A ; EBREW TRU ET , “ ” “ ” “ ” CHATzozE RA S P S R MP , HO HAR , KEREN ; TURKI H T U ET M CLARIONET FA ILY . REEDS AN D SAXOPHONE ANCIENT BA SSOON AN D OLD FORM OF OBOE O AM M D MS BOE F ILY , O ERN FOR FRENCH HORNS AN D P RE DECESSORS SS S M S : UMP F M B RA IN TRU ENT TR ET, CORNET, LUGELHORN , VALVE TRO BON E AN D SLI DE K EY : S P SS OPHI BUGLE TRIBE ER ENT , K ENT BUGLE , BA BUGLE , CLEIDE M D N F AN D M , O ERN I ANTRY BUGLE VALVE ATTACH ENT . M M P S F OR SS M INTERIOR FOR OF OUTH IECE BRA INSTRU ENTS . SS S M S : SS P M LARGER BRA IN TRU ENT CIRCULAR BA , EU HONIU , BARI N D P D M TO E , ALTO , U LEX OR OUBLE BELL FOR OF BARITONE OR SS BA . SIX- VALVE SAXHORN TYMP ANI SID E OR SNARE BASS DRUM M ILITARY BAND XYLOPHONE . TRIANGLES ' CASTAGN ETS WITH HANDLE TAMBOURINE EGYPTIAN DRU M H W D M P EBRE RU , TO H X ILL U ST RATIONS ANCI ENT POLI SH KETTLEDRU MS A F RICA N SIG N AL AFRICAN ARUWI MI WA R DRUM A N D M A RIMBA OR A F RICAN XYLOPHONE BO UN DAW JAVANESE KETTLE DRU MS AN D P LAYER DIAG RA M OF NODES AN D DIAGRAM OF DYNA MIC RELATIVITY OF WIND INSTRUM ENTS M U SI C I N T H E T E XT OPEN NOTE S OF THE FRENCH HORN HARMONICS OF CUPP ED- MOUTH PIECE INSTRU M ENTS H RM S OF A ONIC THE CLARIONET . Illustra tions of Dis cr epa nci es of I ntona ti on of P is ton I nstr um ents M OF S 1 2 CO BINATION VALVE , , 3 ' S D RD a 8 0 S N R N S TAN A , 7 I GLE VIB ATIO M OF S 2 A N D S I CO BINATION VALVE , 3 VALVE , 3 ’ TH E N S d c OTE fit, g , , ’ P R SS D S N N S M 6 to ROG E IVE E CE T OF OTE FRO g# , l l TH E N S d b C OTE g ) ) g ) fll) # ) f# THE S F C NOTE # , C , # , C ’ SHOWING THE NOTES A F F ECTED B Y SAX S INVENTION OF THE RING OF KEY , ON THE LOWER J OINT THE CLARIONET N OTES A F FECTED ON THE CLARIONET BY I MP ROVED TRILL M ECHAN ISM . MP SS M AN D I F M CO A , NO INAL ACTUAL , OF THE CLAR ONET A ILY N S S D F F R N N OF P N - P P OTE HOWING I E E CE IN LE GTH THE FLUTE , O E I E P I P AN D I S PP D- P P P I N P R NCI LE , THE CLAR ONET, TO E I E R CI LE HARMON I C TWELFTH ON THE CLARIONET SEQUENCE OF HARMONIC TWELF TH S ON THE CLARIONET A TWE LF TH A N D A TWELF TH HIGHER N NOTES ILLUSTRATI N G D E F ECTIVE INTONATION ON THE CLARIO ET .
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  • The Automatic Compensating Euphonium As the Ideal Choice For
    THE AUTOMATIC COMPENSATING EUPHONIUM AS THE IDEAL CHOICE FOR PERFORMING MUSIC COMPOSED ORIGINALLY FOR OPHICLEIDE Richard R. Demy, M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS August 2014 APPROVED: Brian Bowman, Major Professor Eugene Corporon, Minor Professor Donald Little, Committee Member John Holt, Chair of the Division of Brass Benjamin Brand, Director of Graduate Studies, College of Music James Scott, Dean, College of Music Mark Wardell, Dean of the Toulouse Graduate School Demy, Richard R. The Automatic Compensating Euphonium as the Ideal Choice for Performing Music Composed Originally for Ophicleide. Doctor of Musical Arts (Performance), August 2014, 90 pp., references, 84 titles The ophicleide was a popular 2instrument tables, 12 forfigures, a short 7 examples, yet important time in music . history. Many orchestras perform music originally written for ophicleide on a bass tuba. By researching the music written for the ophicleide, and the history of the instruments that were related to it, we can see that the euphonium would be a more historically accurate replacement. A detailed analysis of the sound properties of these instruments help to reinforce the euphoniums dominance at matching the timbre of the ophicleide. Several famous orchestral excerpts are treated as case studies to show why the use of a euphonium is the ideal choice for performing music written for the ophicleide. Copyright 2014 By Richard R. Demy ii TABLE OF CONTENTS Page LIST OF TABLES...................................................................................................................................................
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