The Legacy of Aaron Copland Reference Materials: General Performance Tips and Techniques
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Brass Teacherõs Guide
Teacher’s Guide Brass ® by Robert W.Getchell, Ph. D. Foreword This manual includes only the information most pertinent to the techniques of teaching and playing the instruments of the brass family. Its principal objective is to be of practical help to the instrumental teacher whose major instrument is not brass. In addition, the contents have purposely been arranged to make the manual serve as a basic text for brass technique courses at the college level. The manual should also help the brass player to understand the technical possibilities and limitations of his instrument. But since it does not pretend to be an exhaustive study, it should be supplemented in this last purpose by additional explanation from the instructor or additional reading by the student. General Characteristics of all Brass Instruments Of the many wind instruments, those comprising the brass family are perhaps the most closely interrelated as regards principles of tone production, embouchure, and acoustical characteristics. A discussion of the characteristics common to all brass instruments should be helpful in clarifying certain points concerning the individual instruments of the brass family to be discussed later. TONE PRODUCTION. The principle of tone production in brass instruments is the lip-reed principle, peculiar to instruments of the brass family, and characterized by the vibration of the lip or lips which sets the sound waves in motion. One might describe the lip or lips as the generator, the tubing of the instrument as the resonator, and the bell of the instrument as the amplifier. EMBOUCHURE. It is imperative that prospective brass players be carefully selected, as perhaps the most important measure of success or failure in a brass player, musicianship notwithstanding, is the degree of flexibility and muscular texture in his lips. -
Open Research Online Oro.Open.Ac.Uk
Open Research Online The Open University’s repository of research publications and other research outputs Disruptive Innovation in the Creative Industries: The adoption of the German horn in Britain 1935-75 Conference or Workshop Item How to cite: Smith, David and Blundel, Richard (2016). Disruptive Innovation in the Creative Industries: The adoption of the German horn in Britain 1935-75. In: Association of Business Historians (ABH) and Gesellschaft für Unternehmensgeschichte (GUG) Joint Conference, 27-29 May 2016, Humbolt University, Berlin. For guidance on citations see FAQs. c 2016 The Authors https://creativecommons.org/licenses/by-nc-nd/4.0/ Version: Version of Record Link(s) to article on publisher’s website: http://ebha.org/public/C6:pdf Copyright and Moral Rights for the articles on this site are retained by the individual authors and/or other copyright owners. For more information on Open Research Online’s data policy on reuse of materials please consult the policies page. oro.open.ac.uk Joint Conference Association of Business Historians (ABH) and Gesellschaft für Unternehmensgeschichte (GUG), 27-28 May 2016, Humboldt University Berlin, Germany Disruptive Innovation in the Creative Industries: The adoption of the German horn in Britain 1935-75 David Smith* and Richard Blundel** *Nottingham Trent University, UK and **The Open University, UK Abstract This paper examines the interplay between innovation and entrepreneurial processes amongst competing firms in the creative industries. It does so through a case study of the introduction and diffusion into Britain of a brass musical instrument, the wide bore German horn, over a period of some 40 years in the middle of the twentieth century. -
Recital Report
Utah State University DigitalCommons@USU All Graduate Plan B and other Reports Graduate Studies 5-1975 Recital Report Robert Steven Call Utah State University Follow this and additional works at: https://digitalcommons.usu.edu/gradreports Part of the Music Commons Recommended Citation Call, Robert Steven, "Recital Report" (1975). All Graduate Plan B and other Reports. 556. https://digitalcommons.usu.edu/gradreports/556 This Report is brought to you for free and open access by the Graduate Studies at DigitalCommons@USU. It has been accepted for inclusion in All Graduate Plan B and other Reports by an authorized administrator of DigitalCommons@USU. For more information, please contact [email protected]. RECITAL REPORT by Robert Steven Call Report of a recital performed in partial fulfillment of the requirements for the degree of MASTER OP MUSIC in ~IUSIC UTAH STATE UNIVERSITY Logan, Utah 1975 ii ACKNOWLEDGMENTS I wish to expr ess appreciation to my private music teachers, Dr. Alvin Wardle, Professor Glen Fifield, and Mr. Earl Swenson, who through the past twelve years have helped me enormously in developing my musicianship. For professional encouragement and inspiration I would like to thank Dr. Max F. Dalby, Dr. Dean Madsen, and John Talcott. For considerable time and effort spent in preparation of this recital, thanks go to Jay Mauchley, my accompanist. To Elizabeth, my wife, I extend my gratitude for musical suggestions, understanding, and support. I wish to express appreciation to Pam Spencer for the preparation of illustrations and to John Talcott for preparation of musical examp l es. iii UTAH STATE UNIVERSITY Logan, Utah DEPARTMENT OF MUSIC 1972 - 73 Graduate Recital R. -
Hoover Beginning Band
Hoover Beginning Band Welcome, musicians! All students are welcome to join band without experience ! Beginning Band is a year-long elective that meets every day during school. Band does require home practice and instrument rental. Simply request “Beginning Band (Band 1)” on your schedule request form. ● Want to get a head start on learning an instrument? ○ Register for summer band! (June TBD). Applications can be picked up in the HMS front office or from your elementary music teacher after Spring Break. ● NO EXPERIENCE REQUIRED! ○ If you have never played an instrument before, don’t worry! Everyone is welcome in beginning band! ● Are you already in Orchestra? ○ You can continue into the Hoover Intermediate Orchestra AND take Beginning Band! ● Do we have grades in band? ○ Yes, just like any elective class that meets daily. Band students are graded on their rehearsal etiquette, performance attendance, and individual playing tests. ● Required Evening Performances: ○ Fall Informance : October ○ Winter Concert: December ○ Spring Concert : May ● Additional Performance Opportunities: ○ Solo & Ensemble : February/May ● Instrument Options: (students try each instrument and are placed on the best fit by Ms. Leffard) ○ Woodwinds: Flute, Clarinet, Alto Saxophone, Oboe, Bassoon ○ Brass : Trumpet, French Horn, Trombone, Euphonium, Tuba ○ Percussion : Audition only (no previous experience required) ● Instrument Rentals: ○ Instruments rented from Hoover include : Tuba, Euphonium, French Horn, and Percussion ○ Instruments rented from The Horn Section include : Flute, Clarinet, Alto Saxophone, Trumpet, and Trombone ○ If you are concerned about the cost of renting an instrument, please contact Ms. Leffard. ● Do you already play a band instrument? If you have experience on one of the instruments listed above, please contact Ms. -
WIND INSTRUMENT USAGES in the SYMPHONIES of GUSTAV MAHLER ' by Donald Irvin Caughill a Thesis Submitted to the Faculty of the SC
Wind instrument usages in the symphonies of Gustav Mahler, by Donald Irvin Caughill Item Type text; Thesis-Reproduction (electronic) Authors Caughill, Donald I. Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 26/09/2021 04:43:50 Link to Item http://hdl.handle.net/10150/318086 WIND INSTRUMENT USAGES IN THE SYMPHONIES OF GUSTAV MAHLER ' by Donald Irvin Caughill A Thesis Submitted to the Faculty of the SCHOOL OF MUSIC In Partial Fulfillment of the. Requirements For the Degree of . MASTER OF MUSIC In the Graduate College THE UNIVERSITY OF ARIZONA 1972 STATEMENT BY AUTHOR This thesis has heen submitted in. partial fulfillment of re- • guirements for an advanced degree at The University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this thesis are allowable without special permission, provided that, accurate acknowledgment of source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the head of the major department or the Dean of the Graduate College when in his judg ment the proposed use of the material is in the interests of scholar ship. In all other instances, however, permission must be obtained from the author. 'SIGNED: APPROVAL BY THESIS.DIRECTOR This thesis has been approved on the date shown below: E. -
(1925-2014) Horn Arrangements for the Four Tops and the Temptations: a Lecture Recital
SMITH, RUSSELL ALAN, D.M.A. Gil Askey’s (1925-2014) Horn Arrangements for the Four Tops and the Temptations: A Lecture Recital. (2016) Directed by Prof. Timothy M. Clodfelter. 31 pp. 1. Solo Recital: Wednesday, April 23rd, 2014, 7:30 P.M., Recital Hall, UNCG. Caprice (Joseph Turrin); Sonata for Trumpet and Piano (Eric Ewazen); Concerto in C (Antonio Vivaldi); Quatre Variations sur un Theme de Domenico Scarlatti (Marcel Bitsch); All The Way (James Van Heusen) 2. Solo Recital: Sunday, February 15th, 2015, 5:30 P.M., Recital Hall, UNCG. Strap On Your Lobster (James Mobberley); Sonata for Trumpet and Piano (Kent Kennan); Fandango (Joseph Turrin); Songs of a Wayfarer (Gustav Mahler); Nocturno (Franz Strauss); The Preacher (Horace Silver) 3. Solo Recital: Wednesday, April 6th, 2016, 7:30 P.M., Organ Hall, UNCG. Postcards (Anthony Plog); Caprice (Eugen Bozza); Oblivion (Astor Piazzolla); The Rose Variations (Robert Russell Bennett); Concerto for Trumpet (Johann Neruda); Elegy (George Thalben-Ball) 4. D.M.A. Research Project. GIL ASKEY’S (1925-2014) HORN ARRANGEMENTS FOR THE FOUR TOPS AND THE TEMPTATIONS: A LECTURE RECITAL. This document accompanies a lecture recital that provided background biographical information and suggested techniques for performing the horn section arrangements of the Four Tops and the Temptations in a live setting. Introductory information about the scope and significance of the project and background biographical information about Motown Records Company and arranger Gil Askey were discussed. The logistical and performance challenges that must be addressed when executing these horn arrangements were explored as well. An examination of the melodic, harmonic and rhythmic elements contained in the horn section arrangements was presented along with stylistic performance considerations. -
Thesis Critical Influences Affecting the Contemporary Brass Playing
Institute of Education University of London Thesis Critical influences affecting the contemporary brass playing community Doctor in Education January 2011 David Samuel Thomas Declaration of authenticity I hereby declare that, except where explicit attribution is made, the work presented in this thesis is entirely my own. Word count 51,287 Signed ~ · S ·~rN) Date OC~~ 'lO 'lO \ \ Critical influences affecting the contemporary brass playing community ABSTRACT Drawing upon information learned from the Institution Focused Study, Critical Influences Affecting the Contemporary Brass Playing Community is the result of a detailed enquiry into the learning of brass instruments. The thesis begins by contextual ising brass learning within the historical and sociological setting of the British Brass Band movement and considers factors which have contributed towards contemporary performance values. Intending to identify and investigate the factors which best anticipate successful brass teaching and learning, the thesis describes two main areas of research which were conducted between 2007 and 2009. The first of these focused upon a detailed questionnaire survey of the brass playing community within a secondary school in the North of England which has a highly successful brass tradition. The second area of research profiled, through a questionnaire and on-line interview forum, twenty four respondents from two championship section brass bands in contrasting areas of the United Kingdom. Using hypothesis drawn from biographical perceptions of successful learning and teaching, the thesis puts forward the notion that previously held concepts need updating within the context of contemporary lifestyles. These indicate that too much brass teaching and learning is focused upon the acquisition of a narrow range of musical skills and that the wider issue of music education for life is being neglected. -
Trombone People Loved It, Because We Were Picking up the Beat' Trombonists in Every Era and Genre - Performers Who (Rogovoy 2001)
Trombone people loved it, because we were picking up the beat' trombonists in every era and genre - performers who (Rogovoy 2001). Players such as the Dirty Dozen Brass have cumulatively expanded the possibilities for trom- Band's Kirk Joseph have amplified the sousaphone to bone range, sound quality capabilities and performance emulate many characteristics of the electric bass guitar. speed in ways completely unanticipated and unimagin- able in European art music. It is here, in the popular Bibliography sphere, that the trombone has made its most expressive Bevan, Clifford. 1978, The Tuba Family. London; Faber impact as an instrument with unique vocal and emo- and Faber, tional qualities. Rogovoy, Seth, 2001, 'Dirty Dozen Updates New Orleans The 'tailgate' trombone style, critical to the sound of Street-Band Music' Berkshire Eagle (30 November), Dixieland collective improvisation, was developed sub- http;//www.rogovoy,com/150.shtml stantially in the second and third decades of the twenti- Schafer, William J. 1977. Brass Bands and New Orleans eth century by Edward 'Kid' Ovf and Jim Robinson. Jack Jazz. Baton Rouge, LA; Louisiana State University Teagarden, Jimmy Harrison, Vic Dickenson, Benny Press, Morton and Dicky Wells extended the melodic and rhythmic capabilities of the trombone in the 1920s and Discography 1930s in the transition to swing. Band leader trombon- Dirty Dozen Brass Band, The, My Feet Can't Fail Me Now. ists like Glenn Miller and Tommy Dorsey developed the Concord Jazz 43005. 1984: USA, trombone's role as a lyrical lead -
2019 Mandarins Brass Manual
“make your best sound” “always look your best” “it only counts on the move” MANDARINS METHODS & TECHNICAL MANUAL ‘\\\ 2019 MAKE YOUR BEST SOUND * ALWAYS LOOK YOUR BEST * IT ONLY COUNTS ON THE MOVE !1 MA19 – BRASS MANUAL –TABLE OF CONTENTS – IMPORTANT INFORMATION 3-4 REQUIRED REHEARSAL MATERIALS 5 THE BUCKET LIST 6 Brass Technique ◦ Air & Breathing Techniques 7-9 ◦ Embouchure Development 9-10 ◦ Bending Pitches 10 ◦ Foghorn Technique 11 ◦ Singing 11 ◦ Long Tones 12 ◦ Going to point (.1) 13 ▪ Long Tones | Going to .1 12-13 ▪ Flow Studies 13-16 ▪ Lip Slurs / Flexibility Exercises 17-20 ◦ Articulation & Style 21-26 ◦ Articulation Visualization 22 ▪ Tim’s ‘Ticulations 23 ▪ Articulation Exercises 23-26 ◦ Volume / Dynamics 27 ◦ Pitch & Intonation 27-29 ▪ Chord Adjustment Chart 29 ◦ Balance & Blend 30 ◦ Bopping 30 ◦ Pedal Tones 31 ◦ Stagger Breathing 31-33 ◦ Fingering Techniques 33-36 ▪ Clarke Studies 34-36 ▪ Tuning Tendency Chart(s) 37-38 MAKE YOUR BEST SOUND * ALWAYS LOOK YOUR BEST * IT ONLY COUNTS ON THE MOVE !2 INSTRUMENTATION The Mandarins brass section will consist of 79-80 members in: 24 Trumpets, 16 Mellophones, 8 Trombones, 16 Euphoniums and 15-16 Tubas. All of these spots are available each year. NO ONE, regardless of experience, is guaranteed a spot. Returning members must demonstrate a continued growth and development in order to be considered for membership. MANDARINS PLAY EXCLUSIVELY ON JUPITER INSTRUMENTS Trumpets: Jupiter XO Professional Trumpet 1602SR (Reverse Lead Pipe) Mellophone: Jupiter Mellophone JMP-1100MS Euphonium: Jupiter Marching Euphonium JEP-1100MS Tuba: Jupiter Marching Tuba JTU1100MS IN 2019 Mandarins will be adjusting instruments and the model numbers above could change. -
The Brass Family: Reading & Questions
The Brass Family: Reading & Questions Instructions: Read the information about the brass family, and then answer the following questions. The reading can be found below this document, or on the following website: https://www.ducksters.com/musicforkids/brass_instruments.php Please use complete sentences in your answers: *Note: If you want to submit through Google Classroom, the code is escoc7z 1. Describe how the vibration to make sound is created on a brass instrument: _____________________________________________________________________________ _____________________________________________________________________________ _____________________________________________________________________________ 2. Identify three types of music that use brass instruments: _____________________________________________________________________________ _____________________________________________________________________________ _____________________________________________________________________________ _____________________________________________________________________________ 3. Explain why a brass player would use a mute: _____________________________________________________________________________ _____________________________________________________________________________ _____________________________________________________________________________ _____________________________________________________________________________ 4. Explain why brass instruments are curved: _____________________________________________________________________________ -
The History and Usage of the Tuba in Russia
The History and Usage of the Tuba in Russia D.M.A. Document Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By James Matthew Green, B.A., M.M. Graduate Program in Music The Ohio State University 2015 Document Committee: Professor James Akins, Advisor Professor Joseph Duchi Dr. Margarita Mazo Professor Bruce Henniss ! ! ! ! ! ! ! ! ! ! ! ! Copyright by James Matthew Green 2015 ! ! ! ! ! ! Abstract Beginning with Mikhail Glinka, the tuba has played an important role in Russian music. The generous use of tuba by Russian composers, the pedagogical works of Blazhevich, and the solo works by Lebedev have familiarized tubists with the instrument’s significance in Russia. However, the lack of available information due to restrictions imposed by the Soviet Union has made research on the tuba’s history in Russia limited. The availability of new documents has made it possible to trace the history of the tuba in Russia. The works of several composers and their use of the tuba are examined, along with important pedagogical materials written by Russian teachers. ii Dedicated to my wife, Jillian Green iii Acknowledgments There are many people whose help and expertise was invaluable to the completion of this document. I would like to thank my advisor, professor Jim Akins for helping me grow as a musician, teacher, and person. I would like to thank my committee, professors Joe Duchi, Bruce Henniss, and Dr. Margarita Mazo for their encouragement, advice, and flexibility that helped me immensely during this degree. I am indebted to my wife, Jillian Green, for her persistence for me to finish this document and degree. -
The Instrument of Royalty
Chapter 1 The Instrument of Royalty In This Chapter ▶ Getting acquainted with the brass family ▶ Taking the first steps toward playing the trumpet ▶ Improving as a trumpeter ▶ Staying at the top of your game ings and queens have used the authority of the trumpet sound as part Kof their pageantry since the Egyptian pharaohs. That tradition con- tinues: The wedding of Prince Charles and Lady Diana was accompanied by a brilliant trumpet solo, and modern-day royalty and other dignitaries are invariably announced by trumpet fanfares. More than any other instrument, the trumpet has always had a mystique about it. Nothing against the clarinet or the flute, but neither of those instru- ments blew down the walls of Jericho or announced the end of all things, as in Handel’s Messiah. By learning to play the trumpet, you’ve decided to be part of a wonderful tradition. All in the Family — The BrassCOPYRIGHTED Family, That Is MATERIAL The trumpet is a member of the brass family, which shares a rich history and development. All members of the brass family have one thing in com- mon, besides being made mostly of brass: They’re all sounded by the buzz- ing of the lips. (That makes them part of an even larger family, the lip-reed instrument group.) Every brass instrument has a mouthpiece, usually detachable from the instru- ment, against which the lips buzz. It, too, is made of a brass alloy. The mouth- piece consists of a rim on which the lips rest, a cup into which the air is blown, and a throat, which is a narrow opening that streams the air into the instru- ment.