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The KNIGHT REVISION of HORNBOSTEL-SACHS: a New Look at Musical Instrument Classification
The KNIGHT REVISION of HORNBOSTEL-SACHS: a new look at musical instrument classification by Roderic C. Knight, Professor of Ethnomusicology Oberlin College Conservatory of Music, © 2015, Rev. 2017 Introduction The year 2015 marks the beginning of the second century for Hornbostel-Sachs, the venerable classification system for musical instruments, created by Erich M. von Hornbostel and Curt Sachs as Systematik der Musikinstrumente in 1914. In addition to pursuing their own interest in the subject, the authors were answering a need for museum scientists and musicologists to accurately identify musical instruments that were being brought to museums from around the globe. As a guiding principle for their classification, they focused on the mechanism by which an instrument sets the air in motion. The idea was not new. The Indian sage Bharata, working nearly 2000 years earlier, in compiling the knowledge of his era on dance, drama and music in the treatise Natyashastra, (ca. 200 C.E.) grouped musical instruments into four great classes, or vadya, based on this very idea: sushira, instruments you blow into; tata, instruments with strings to set the air in motion; avanaddha, instruments with membranes (i.e. drums), and ghana, instruments, usually of metal, that you strike. (This itemization and Bharata’s further discussion of the instruments is in Chapter 28 of the Natyashastra, first translated into English in 1961 by Manomohan Ghosh (Calcutta: The Asiatic Society, v.2). The immediate predecessor of the Systematik was a catalog for a newly-acquired collection at the Royal Conservatory of Music in Brussels. The collection included a large number of instruments from India, and the curator, Victor-Charles Mahillon, familiar with the Indian four-part system, decided to apply it in preparing his catalog, published in 1880 (this is best documented by Nazir Jairazbhoy in Selected Reports in Ethnomusicology – see 1990 in the timeline below). -
Kingsburg High School Band Handbook
Kingsburg High School Band Handbook The Kingsburg High School Band Program provides an opportunity for students to develop an appreciation for music and encourages the skills and discipline necessary for achieving musical success throughout a lifetime of experiences. Students learn the importance of a cooperative team effort while working with fellow members to accomplish the shared goals of the Marching Band, Color Guard, Symphonic Band, Wind Ensemble, and Jazz Band. Music students have fun meeting new friends and traveling to new and exciting places. In addition, the program challenges students in areas of personal growth and musicianship. The KHS Viking Marching Band consists of members of the Marching Band and Color Guard. All Kingsburg High School band students participate in Marching Band. Students in Wind Ensemble will perform in the competitive field show and parade bands. Students in Symphonic Band will perform in the parade band. During the fall season, the Marching Band performs at home football games, parades, and competitive events throughout California. Band members play in one of two concert ensembles during the year, the Symphonic Band or the Wind Ensemble, depending on their musical maturity. Members of these two groups will play a wide variety of concert literature selected with the purpose of emotionally connecting them to the music and broadening their musical horizons. Members of the groups have the opportunity to perform in solo and ensemble festivals in the area. The Jazz Band begins meeting the second week of school in the fall semester. Auditions are held during the third week of school as needed. This group meets during 0 period at 7:00a.m. -
High School Band, Choir & Orchestra Guidelines 2021
HIGH SCHOOL BAND, CHOIR & ORCHESTRA GUIDELINES 2021 - 2022 United Independent School District Fine Arts Department High School Band, Choir & Orchestra Guidelines 2021 - 2022 I. Enrollment/Participation………………………………….….5 II. Rehearsal/Performance Expectations………………………5-7 II. Grading/Assessment………………………………….………7 III. Eligibility……………………………………………………..8 V. Auditions, Chair & Group Placements…………….…….…...8 VI. Uniforms……………………………………………….……..8 VII. Awards………………………………………………….….....9 VIII. Officers/Drum Majors ………………………………….….. ..9 IX. Mariachi Guidelines ……………………………………….....9 X. District Owned Musical Instruments………….…………….10 XI. Allowable Fees ……………………………………………...10 XII. Student Extracurricular Insurance…………………………...11 XIII. UISD Drug Testing Policy……………………………….….11 XIV. High School Marching Bands ………………………............11 XV. Color Guard/Winter Guard Enrollment……………………..12 XVI. Extracurricular Trips…………………………………….…..12 2 XVII. Alternating Events for UISD High School Bands…….……..12 XVIII. Booster Club Guidelines……………………………....……..12 XIX. UIL Eligibility Calendars...................................…….…….…12 XX. Parent/Student Agreement…………………………….…..….13 3 PREFACE TO STUDENTS AND PARENTS The Fine Arts Department has prepared these guidelines for band, choir and orchestra students as well as parents in United I.S.D. It is United I.S.D.’s belief that participation in these organizations promote and develop a well- rounded student through emphasis of academic excellence while advocating student role models for their school. Our district also supports -
Concert Band Handbook
North Central Silver Knights Concert Band Handbook Jonas E. Nix, Director of Bands [NCHS] Isaac P. Pitts, Director of Bands [NCMS] [email protected] / [email protected] Statement of Purpose and Policy The purpose of this handbook is to provide valuable information to parents and students about the North Central Band Program. Members should familiarize themselves with this handbook and procedures. The intention of this handbook is to make certain that all members and parents of our band are well informed. This handbook will address questions and concerns in regards to the policies, procedures, calendars, etc. of our band. If a problem should arise, the director should be consulted for an explanation. All information in this handbook correlates with the North Central Middle and High School handbooks and Kershaw County School District Guidelines. Should there be a difference or conflict the District Handbook will be followed. In order to assist band members and parents in understanding areas of responsibility, a statement of band policy is set forth. Becoming familiar with this policy will enable each individual to make the most of the opportunity to be a member of the North Central Band Program, enhancing skills as a student musician. Members must develop a high sense of purpose toward the goals which they are willing to work. RESPONSIBILITY is the focus behind any level of achievement within this program. We intend to conduct ourselves in a manner that will facilitate all students in learning and bettering themselves. Objectives / Goals of the Band Program As the director of the North Central Band Program I have the following goals and expectations for those of you who choose to be members: 1. -
5Th Grade Instrument Selection – WMS Beginning Band 2013-2014 Parent Email: Phone #___
5th Grade Instrument Selection – WMS Beginning Band 2013-2014 Parent email: ____________________________Parent phone #______________School: Hardeman 1) Physical Characteristics: 2) Musical Characteristics: Lips (fullness, tear drop)________________ Rhythm __________Tonal___________ Teeth/Bite ___________________________ Prior piano training? ________________ Braces (now or anticipated)________________ 3) R__________________ M_________________ Preliminary Student Instrument Preferences: 1 ___________, 2 ___________, 3 ____________ Mouthpiece Sounds: (A score of four (4) or five (5) indicate a strong chance of success on that instrument; Percussion: A score of five (5) is required for percussion class. We will only take 7-9 in this class) COMMENTS Flute 1 2 3 4 5 __________________________ Oboe 1 2 3 4 5 __________________________ Bassoon 1 2 3 4 5 __________________________ Clarinet 1 2 3 4 5 __________________________ Saxophone 1 2 3 4 5 __________________________ Cornet (Trumpet) 1 2 3 4 5 __________________________ French Horn 1 2 3 4 5 __________________________ Trombone 1 2 3 4 5 __________________________ Euphonium 1 2 3 4 5 __________________________ Tuba 1 2 3 4 5 __________________________ Percussion _______ (physical and rhythmical coordination, piano background, high academic grades as well as class behavior are determining factors for this class. You must have a second instrument choice upon checkout. ********************************************************************************* Band Director Approved Final Selection: _______________________________________________ 5th Grade Recruiting Suggested Plan for Success In order to ensure successful recruiting of current 5th graders, the band staff should come to an agreement on a number of important topics. Consensus in these areas, through discussion and compromise, will ensure that all directors have a thorough understanding of the process and that a detailed plan of attack can be implemented. -
Tuning In” Podcast Terminology
H+H “TUNING IN” PODCAST TERMINOLOGY Alto A designation for a range of the human voice, between soprano and tenor. Both women and men perform in the alto range. Aria A song movement which features a soloist singing in a steady tempo (as opposed to the unmeasured, sung-speech style of the recitativ). In addition to the standard continuo accompaniment, an aria can call for a few additional instruments and sometimes even feature a solo instrument, such as the solo violin in “Erbarme dich”. Bass Used to describe a musical instrument and the lowest line of music, in this case it refers to a range of the human voice below tenor. Bass line The lowest written line of music, usually carried out by instruments such as cellos and double basses along with a doubling keyboard instrument such as the organ or harpsichord. In some instances, Bach composes a bass line for an instrument in a higher range, such as the oboe da caccia, but keeps the voice and other instrument or instruments above that range. Chorale A movement which typically features a four-part hymn supported by the orchestra such that the high-pitched instruments play the same line as the sopranos, mid-range instruments play the alto line, etc.; in a Lutheran service, chorale movements allowed the congregation to join in song. Continuo As in Basso Continuo, or “Continuous Bass.” Refers to the group of players who play the lowest line of the music, typically a keyboard instrument such as organ or harpsichord, sometimes a plucked instrument such as theorbo (bass lute), and a sustaining instrument such as the cello; bass instruments which provide the harmonic foundation throughout the entire Passion, even in solo vocal movements (for which the rest of the orchestra does not play). -
Hybrid Winds
Hybrid Winds Linsey Pollak When I was about fifteen I had a dream that featured a wind instrument lives on the Sunshine Coast in whose sound I remembered clearly on Queensland and is a renowned waking. It reminded me of a somewhat community music facilitator, mellow crumhorn (Renaissance wind- composer and musical director who capped double reed pipe) or a sort of has built instruments for over 20 high-pitched baritone sax. That sound Figure 1: Gaidanet. years, specialising in aerophones eludes me now, for I have always been chasing that elusive, dreamt, wind- a semitone when it is opened. In fact it from Eastern Europe. He has a instrument sound. only works for the top half of the octave reputation for making and playing I started my instrument making in Macedonian gaidas, but for the full instruments made from rubber journey 25 years ago making bamboo range in Bulgarian gaidas which have a gloves, carrots, watering cans, flutes. That quickly led to a longer stint more conical bore. This enables a unique chairs, brooms, bins and other found of making wooden renaissance flutes, style of playing and ornamentation. objects. His ongoing obsession and an interest in other Renaissance and What I wanted to do was to have combines much of this: making medieval winds. But the real love affair access to the gaida style of playing and ornamentation while playing a lip-blown music more accessible to began 20 years ago with the Macedonian instrument like a clarinet. I experimented communities through instrument gaida (bagpipes), and so I travelled to Macedonia for eight months over three first with a clarinet mouthpiece and a building and playing workshops. -
Physical Study of Double-Reed Instruments for Application to Sound-Synthesis André Almeida, Christophe Vergez, René Causse, Xavier Rodet
Physical study of double-reed instruments for application to sound-synthesis André Almeida, Christophe Vergez, René Causse, Xavier Rodet To cite this version: André Almeida, Christophe Vergez, René Causse, Xavier Rodet. Physical study of double-reed instru- ments for application to sound-synthesis. International Symposium in Musical Acoustics, Dec 2002, Mexico, Mexico. pp.1-1. hal-01161426 HAL Id: hal-01161426 https://hal.archives-ouvertes.fr/hal-01161426 Submitted on 8 Jun 2015 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Physical study of double-reed instruments for application to sound-synthesis Andre´ Almeida∗, Christophe Vergezy, Rene´ Causse´∗, Xavier Rodet∗ ∗IRCAM, Centre Pompidou/CNRS, 1 Place Igor Stravinsky, 75004 Paris, France yLMA, CNRS, 31 Chemin Joseph Aiguier, 13402 cedex 20 Marseille, France Physical models for most reed instruments have been studied for about 30 years and relatively simple models are enough to describe the main features of their behavior. These general models seem to be valid for all members of the family, yet the sound of a clarinet is distinguishable from the sound of a saxophone or an oboe. Though the conical bore of an oboe or a bassoon has a strong effect over the timbre difference, it doesn’t seem to be a sufficient explanation for the specific character of these double-reed instruments. -
Instrument Descriptions
RENAISSANCE INSTRUMENTS Shawm and Bagpipes The shawm is a member of a double reed tradition traceable back to ancient Egypt and prominent in many cultures (the Turkish zurna, Chinese so- na, Javanese sruni, Hindu shehnai). In Europe it was combined with brass instruments to form the principal ensemble of the wind band in the 15th and 16th centuries and gave rise in the 1660’s to the Baroque oboe. The reed of the shawm is manipulated directly by the player’s lips, allowing an extended range. The concept of inserting a reed into an airtight bag above a simple pipe is an old one, used in ancient Sumeria and Greece, and found in almost every culture. The bag acts as a reservoir for air, allowing for continuous sound. Many civic and court wind bands of the 15th and early 16th centuries include listings for bagpipes, but later they became the provenance of peasants, used for dances and festivities. Dulcian The dulcian, or bajón, as it was known in Spain, was developed somewhere in the second quarter of the 16th century, an attempt to create a bass reed instrument with a wide range but without the length of a bass shawm. This was accomplished by drilling a bore that doubled back on itself in the same piece of wood, producing an instrument effectively twice as long as the piece of wood that housed it and resulting in a sweeter and softer sound with greater dynamic flexibility. The dulcian provided the bass for brass and reed ensembles throughout its existence. During the 17th century, it became an important solo and continuo instrument and was played into the early 18th century, alongside the jointed bassoon which eventually displaced it. -
The Source Spectrum of Double-Reed Wood-Wind Instruments
Dept. for Speech, Music and Hearing Quarterly Progress and Status Report The source spectrum of double-reed wood-wind instruments Fransson, F. journal: STL-QPSR volume: 8 number: 1 year: 1967 pages: 025-027 http://www.speech.kth.se/qpsr MUSICAL ACOUSTICS A. THE SOURCE SPECTRUM OF DOUBLE-REED WOOD-VIIND INSTRUMENTS F. Fransson Part 2. The Oboe and the Cor Anglais A synthetic source spectrum for the bassoon was derived in part 1 of the present work (STL-GPSR 4/1966, pp. 35-37). A synthesis of the source spectrum for two other representative members of the double-reed family is now attempted. Two oboes of different bores and one cor anglais were used in this experiment. Oboe No. 1 of the old system without marking, manufactured in Germany, has 13 keys; Oboe No. 2, manufactured in France and marked Gabart, is of the modern system; and the Cor Anglais No. 3 is of the old system with 13 keys and made by Bolland & Wienz in Hannover. Measurements A mean spectrogram for tones within one octave covering a frequen- cy range from 294 to 588 c/s was produced for the oboes by playing two scrics of tones. One serie was d4, e4, f4, g4, and a and the other 4 serie was g 4, a4, b4, c 5' and d5. Both series were blown slurred ascending and descending in rapid succession, recorded and combined to a rather inharmonic duet on one loop. The spectrograms are shown in Fig. 111-A- 1 whcre No. 1 displays the spectrogram for the old sys- tem German oboe and No. -
Reed Instruments About Reeds
Reed Instruments About Reeds A reed is a thin elastic strip of cane fixed at one end and free at the other. It is set into vibration by moving air. Reeds are the sound generators in the instruments described below. Cane reeds are built as either double or single reeds. A double reed consists of two pieces of cane carved and bound into a hollow, round shape at one end and flattened out and shaved thin at the other. The two pieces are tied together to form an channel. The single reed is a piece of cane shaved at one end and fastened at the other to a mouthpiece. Single Reed Instruments Clarinet: A family of single reed instruments with mainly a cylindrical bore. They are made of grenadilla (African blackwood) or ebonite, plastic, and metal. Clarinets are transposing instruments* and come in different keys. The most common ones used in orchestras are the clarinet in A and the clarinet in Bb. When a part calls for a clarinet in A, the player may either double -i.e. play the clarinet in A, or play the clarinet in Bb and transpose* the part as he plays. During the time of Beethoven, the clarinet in C was also in use and players were expected to be able to play all three instruments when required. All clarinets are notated in the treble clef and have approximately the same written range: E below middle C to c´´´´ (C five ledger lines above the staff). Bass Clarinet: A member of the clarinet family made of wood, which sounds an octave lower than the Clarinet in Bb. -
Indian Music Instruments Sarangi Sitar Sitar Is of the Most Popular Music
Indian Music Instruments Sarangi Sitar Sitar is of the most popular music instruments of North India. The Sitar has a long neck with twenty metal frets and six to seven main cords. Below the frets of Sitar are thirteen sympathetic strings which are tuned to the notes of the Raga. A gourd, which acts as a resonator for the strings is at the lower end of the neck of the Sitar. The frets are moved up and down to adjust the notes. Some famous Sitar players are Ustad Vilayat Khan, Pt. Ravishankar, Ustad Imrat Khan, Ustad Abdul Halim Zaffar Khan, Ustad Rais Khan and Pt Debu Chowdhury. Sarod Sarod has a small wooden body covered with skin and a fingerboard that is covered with steel. Sarod does not have a fret and has twenty-five strings of which fifteen are sympathetic strings. A metal gourd acts as a resonator. The strings are plucked with a triangular plectrum. Some notable exponents of Sarod are Ustad Ali Akbar Khan, Ustad Amjad Ali Khan, Pt. Buddhadev Das Gupta, Zarin Daruwalla and Brij Narayan. Sarangi Sarangi is one of the most popular and oldest bowed instruments in India. The body of Sarangi is hollow and made of teak wood adorned with ivory inlays. Sarangi has forty strings of which thirty seven are sympathetic. The Sarangi is held in a vertical position and played with a bow. To play the Sarangi one has to press the fingernails of the left hand against the strings. Famous Sarangi maestros are Rehman Bakhs, Pt Ram Narayan, Ghulam Sabir and Ustad Sultan Khan.