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Recommended Solos and Ensembles Tenor Trombone Solos Sång Till
Recommended Solos and Ensembles Tenor Trombone Solos Sång till Lotta, Jan Sandström. Edition Tarrodi: Stockholm, Sweden, 1991. Trombone and piano. Requires modest range (F – g flat1), well-developed lyricism, and musicianship. There are two versions of this piece, this and another that is scored a minor third higher. Written dynamics are minimal. Although phrases and slurs are not indicated, it is a SONG…encourage legato tonguing! Stephan Schulz, bass trombonist of the Berlin Philharmonic, gives a great performance of this work on YouTube - http://www.youtube.com/watch?v=Mn8569oTBg8. A Winter’s Night, Kevin McKee, 2011. Available from the composer, www.kevinmckeemusic.com. Trombone and piano. Explores the relative minor of three keys, easy rhythms, keys, range (A – g1, ossia to b flat1). There is a fine recording of this work on his web site. Trombone Sonata, Gordon Jacob. Emerson Edition: Yorkshire, England, 1979. Trombone and piano. There are no real difficult rhythms or technical considerations in this work, which lasts about 7 minutes. There is tenor clef used throughout the second movement, and it switches between bass and tenor in the last movement. Range is F – b flat1. Recorded by Dr. Ron Babcock on his CD Trombone Treasures, and available at Hickey’s Music, www.hickeys.com. Divertimento, Edward Gregson. Chappell Music: London, 1968. Trombone and piano. Three movements, range is modest (G-g#1, ossia a1), bass clef throughout. Some mixed meter. Requires a mute, glissandi, and ad. lib. flutter tonguing. Recorded by Brett Baker on his CD The World of Trombone, volume 1, and can be purchased at http://www.brettbaker.co.uk/downloads/product=download-world-of-the- trombone-volume-1-brett-baker. -
Universiv Micrmlms Internationcil
INFORMATION TO USERS This reproduction was made from a copy o f a document sent to us for microHlming. While the most advanced technology has been used to photograph and reproduce this document, the quality of the reproduction is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help clarify m " '<ings or notations which may appear on this reproduction. 1. The sign or “ target” for pages apparently lacking from the document photographed is “ Missing Page(s)” . I f it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting througli an image and duplicating adjacent pages to assure complete continuity. 2. When an image on the film is obliterated with a round black mark, it is an indication of either blurred copy because of movement during exposure, duplicate copy, or copyriglited materials that should not have been filmed. For blurred pages, a good image of the page can be found in the adjacent frame. If copyrighted materials were deleted, a target note will appear listing the pages in the adjacent frame. 3. When a map, drawing or chart, etc., is part o f the material being photographed, a definite method of “sectioning” the material has been followed. It is customary to begin film ing at the upper le ft hand comer o f a large sheet and to continue from left to right in equal sections w ith small overlaps. I f necessary, sectioning is continued again—beginning below the first row and continuing on until complete. -
Direction 2. Ile Fantaisies
CD I Josquin DESPREZ 1. Nymphes des bois Josquin Desprez 4’46 Vox Luminis Lionel Meunier: direction 2. Ile Fantaisies Josquin Desprez 2’49 Ensemble Leones Baptiste Romain: fiddle Elisabeth Rumsey: viola d’arco Uri Smilansky: viola d’arco Marc Lewon: direction 3. Illibata dei Virgo a 5 Josquin Desprez 8’48 Cappella Pratensis Rebecca Stewart: direction 4. Allégez moy a 6 Josquin Desprez 1’07 5. Faulte d’argent a 5 Josquin Desprez 2’06 Ensemble Clément Janequin Dominique Visse: direction 6. La Spagna Josquin Desprez 2’50 Syntagma Amici Elsa Frank & Jérémie Papasergio: shawms Simen Van Mechelen: trombone Patrick Denecker & Bernhard Stilz: crumhorns 7. El Grillo Josquin Desprez 1’36 Ensemble Clément Janequin Dominique Visse: direction Missa Lesse faire a mi: Josquin Desprez 8. Sanctus 7’22 9. Agnus Dei 4’39 Cappella Pratensis Rebecca Stewart: direction 10. Mille regretz Josquin Desprez 2’03 Vox Luminis Lionel Meunier: direction 11. Mille regretz Luys de Narvaez 2’20 Rolf Lislevand: vihuela 2: © CHRISTOPHORUS, CHR 77348 5 & 7: © HARMONIA MUNDI, HMC 901279 102 ITALY: Secular music (from the Frottole to the Madrigal) 12. Giù per la mala via (Lauda) Anonymous 6’53 EnsembleDaedalus Roberto Festa: direction 13. Spero haver felice (Frottola) Anonymous 2’24 Giovanne tutte siano (Frottola) Vincent Bouchot: baritone Frédéric Martin: lira da braccio 14. Fammi una gratia amore Heinrich Isaac 4’36 15. Donna di dentro Heinrich Isaac 1’49 16. Quis dabit capiti meo aquam? Heinrich Isaac 5’06 Capilla Flamenca Dirk Snellings: direction 17. Cor mio volunturioso (Strambotto) Anonymous 4’50 Ensemble Daedalus Roberto Festa: direction 18. -
2011 Recorders & More
Recorder price list 2011/55-GB (valid from April 1st 2011 – prices incl. VAT) CONRAD MOLLENHAUER GMBH Weichselstr. 27 · 36043 Fulda/Germany Tel.: +49(0)661/9467- 0 · Fax: +49(0)661/9467-36 Enjoy the recorder [email protected] · www.mollenhauer.com retail/£ retail/£ The “New Student” School recorder made of pearwood 2011 1042 pearwood, Baroque double holes . 58.66 1042d pearwood dark stained, Baroque double holes . 58.66 1004 pearwood, Baroque single holes . 58.66 Recorders & more 1004d pearwood dark stained, Baroque single holes . 58.66 1003 pearwood, German single holes . 57.74 for beginners to professional players 1003d pearwood dark, stained, German single holes . 57.74 1042EL one-handed recorder for left hand . .872.49 1042ER one-handed recorder for right hand . .872.49 a1 = 442 Hz Swing High quality ABS plastic, 3 part Adri’s Dream Recorder Swing soprano Soprano recorders made of plastic and wood/plastic 0505 black/beige, Baroque double holes . 16.04 Wide bore – full sound for ensemble playing, Baroque fingering 0705 beige, Baroque double holes . 16.04 Soprano Plastic 0501 black/beige, German single holes . 16.04 0117S black, single holes . 23.83 0701 beige, German single holes . 16.04 0119S black, double holes . 23.83 0702 beige, German double holes . 16.04 PRCMB body, pearwood, Baroque double holes . 21.08 Soprano Body made of pearwood, headjoint of plastic PRCMD body, pearwood, German single hole . 20.16 1117B night blue, single holes . 41.24 PRCMD body, pearwood, German double holes . 21.08 1117R red, single holes . 41.24 1119B night blue, double holes . -
An Historical and Analytical Study of Renaissance Music for the Recorder and Its Influence on the Later Repertoire Vanessa Woodhill University of Wollongong
University of Wollongong Research Online University of Wollongong Thesis Collection University of Wollongong Thesis Collections 1986 An historical and analytical study of Renaissance music for the recorder and its influence on the later repertoire Vanessa Woodhill University of Wollongong Recommended Citation Woodhill, Vanessa, An historical and analytical study of Renaissance music for the recorder and its influence on the later repertoire, Master of Arts thesis, School of Creative Arts, University of Wollongong, 1986. http://ro.uow.edu.au/theses/2179 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] AN HISTORICAL AND ANALYTICAL STUDY OF RENAISSANCE MUSIC FOR THE RECORDER AND ITS INFLUENCE ON THE LATER REPERTOIRE by VANESSA WOODHILL. B.Sc. L.T.C.L (Teachers). F.T.C.L A dissertation submitted in partial fulfillment of the requirements for the degree of Master of Arts in the School of Creative Arts in the University of Wollongong. "u»«viRsmr •*"! This thesis is submitted in accordance with the regulations of the University of Wotlongong in partial fulfilment of the requirements for the degree of Master of Arts. I hereby certify that the work embodied in this thesis is the result of original research and has not been submitted for a higher degree at any other University or similar institution. Copyright for the extracts of musical works contained in this thesis subsists with a variety of publishers and individuals. Further copying or publishing of this thesis may require the permission of copyright owners. Signed SUMMARY The material in this thesis approaches Renaissance music in relation to the recorder player in three ways. -
Instruments of the Orchestra
INSTRUMENTS OF THE ORCHESTRA String Family WHAT: Wooden, hollow-bodied instruments strung with metal strings across a bridge. WHERE: Find this family in the front of the orchestra and along the right side. HOW: Sound is produced by a vibrating string that is bowed with a bow made of horse tail hair. The air then resonates in the hollow body. Other playing techniques include pizzicato (plucking the strings), col legno (playing with the wooden part of the bow), and double-stopping (bowing two strings at once). WHY: Composers use these instruments for their singing quality and depth of sound. HOW MANY: There are four sizes of stringed instruments: violin, viola, cello and bass. A total of forty-four are used in full orchestras. The string family is the largest family in the orchestra, accounting for over half of the total number of musicians on stage. The string instruments all have carved, hollow, wooden bodies with four strings running from top to bottom. The instruments have basically the same shape but vary in size, from the smaller VIOLINS and VIOLAS, which are played by being held firmly under the chin and either bowed or plucked, to the larger CELLOS and BASSES, which stand on the floor, supported by a long rod called an end pin. The cello is always played in a seated position, while the bass is so large that a musician must stand or sit on a very high stool in order to play it. These stringed instruments developed from an older instrument called the viol, which had six strings. -
Instrumental Music in the Urban Centres of Renaissance Germany Author(S): Keith Polk Reviewed Work(S): Source: Early Music History, Vol
Instrumental Music in the Urban Centres of Renaissance Germany Author(s): Keith Polk Reviewed work(s): Source: Early Music History, Vol. 7 (1987), pp. 159-186 Published by: Cambridge University Press Stable URL: http://www.jstor.org/stable/853891 . Accessed: 02/11/2011 18:18 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Cambridge University Press is collaborating with JSTOR to digitize, preserve and extend access to Early Music History. http://www.jstor.org KEITH POLK INSTRUMENTAL MUSIC IN THE URBAN CENTRES OF RENAISSANCE GERMANY* Modern scholarship about Renaissance instrumental music has suffered from a scarcity of musical sources. Consequently current research efforts often seem to operate in the manner of archaeologi- cal excavations; at times it is only as one layer is painstakingly uncovered that the configurations of another are revealed. This was certainly the experience of this contribution, which began as an investigation into late fifteenth-century Italian instrumental prac- tices. The early phases of the Italian study involved sifting through many archival documents, and one initial miscellaneous impression was that German players frequently appeared in Italian ensembles. Pursuit of this almost casual observation led first to an awareness that German presence in Italy was substantial, then, further, to the fact that the oltramontanidominated aspects of instrumental music. -
ACCESSORIES Band & Orchestral Division Quality Yamaha Accessories
ACCESSORIES Band & Orchestral Division Quality Yamaha Accessories... Yamaha band and orchestral accessories help musicians around the world get the most out of their instruments every day. From SILENT Brass™ to premium swabs and oils, Yamaha offers an exceptional array of innovative, technologically advanced accessories that are engineered to perform. Students and professionals alike can put their trust in the quality and consistency that Yamaha accessories provide. To learn more about Yamaha, please visit our website at usa.yamaha.com. i Table of Contents Description Page SILENT Brass™ ..................................2 Brass Mouthpieces.........................4-19 Brass Accessories........................20-23 Woodwind Mouthpieces...............24-25 Woodwind Accessories ...............26-28 Maintenance Kits ............................29-30 Recorders and Pianicas..................31-32 Band Accessories.........................35-36 Percussion Accessories...............37-38 Mallets...........................................39-43 Drumheads.....................................44-45 Percussion Cases and Covers.....46-49 ii 1 SILENT Brass PM5X The new SILENT Brass systems have been completely re-designed to meet the needs of brass players, whether they're a student on their first day or an international soloist traveling the world. Using a brand new proprietary process called "Brass Resonance Modeling™," Yamaha designers have found a way to bring the natural sound characteristics to the forefront of the experience while at the same time canceling negative sound properties, ensuring a level of realistic sound not previously possible. Combine that with the new lightweight PM3X completely in-bell design of the mute and the pocket-size performance module, and you have a portable practice system to use in any situation. An external PM6X sound source can be plugged in using the AUX IN jack allowing the player to play along with their favorite tunes. -
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. -
Fomrhi-110.Pdf
v^uaneny INO. nu, iNovcmDer ^uuo FoMRHI Quarterly BULLETIN 110 Christopher Goodwin 2 COMMUNICATIONS 1815 On frets and barring; some useful ideas David E McConnell 5 1816 Modifications to recorder blocks to improve sound production Peter N Madge 9 1817 What is wrong with Vermeer's guitar Peter Forrester 20 1818 A new addition to the instruments of the Mary Rose Jeremy Montagu 24 181*9 Oud or lute? - a study J Downing 25 1820 Some parallels in the ancestry of the viol and violin Ephraim Segerman 30 1821 Notes on the polyphont Ephraim Segerman 31 1822 The 'English' in English violette Ephraim Segerman 34 1823 The identity of tlie lirone Ephraim Segerman 35 1824 On the origins of the tuning peg and some early instrument name:s E Segerman 36 1825 'Twined' strings for clavichords Peter Bavington 38 1826 Wood fit for a king? An investigation J Downing 43 1827 Temperaments for gut-strung and gut-fretted instruments John R Catch 48 1828 Reply to Hebbert's Comm. 1803 on early bending method Ephraim Segerman 58 1829 Reply to Peruffo's Comm. 1804 on gut strings Ephraim Segerman 59 1830 Reply to Downing's Comm. 1805 on silk/catgut Ephraim Segerman 71 1831 On stringing of lutes (Comm. 1807) and guitars (Comms 1797, 8) E Segerman 73 1832 Tapered lute strings and added mas C J Coakley 74 1833 Review: A History of the Lute from Antiquity to the Renaissance by Douglas Alton Smith (Lute Society of America, 2002) Ephraim Segerman 77 1834 Review: Die Renaissanceblockfloeten der Sammlung Alter Musikinstrumenten des Kunsthistorisches Museums (Vienna, 2006) Jan Bouterse 83 The next issue, Quarterly 111, will appear in February 2009. -
Natural Trumpet Music and the Modern Performer A
NATURAL TRUMPET MUSIC AND THE MODERN PERFORMER A Thesis Presented to The Graduate Faculty of The University of Akron In Partial Fulfillment of the Requirements for the Degree Master of Music Laura Bloss December, 2012 NATURAL TRUMPET MUSIC AND THE MODERN PERFORMER Laura Bloss Thesis Approved: Accepted: _________________________ _________________________ Advisor Dean of the College Dr. Brooks Toliver Dr. Chand Midha _________________________ _________________________ Faculty Reader Dean of the Graduate School Mr. Scott Johnston Dr. George R. Newkome _________________________ _________________________ School Director Date Dr. Ann Usher ii ABSTRACT The Baroque Era can be considered the “golden age” of trumpet playing in Western Music. Recently, there has been a revival of interest in Baroque trumpet works, and while the research has grown accordingly, the implications of that research require further examination. Musicians need to be able to give this factual evidence a context, one that is both modern and historical. The treatises of Cesare Bendinelli, Girolamo Fantini, and J.E. Altenburg are valuable records that provide insight into the early development of the trumpet. There are also several important modern resources, most notably by Don Smithers and Edward Tarr, which discuss the historical development of the trumpet. One obstacle for modern players is that the works of the Baroque Era were originally played on natural trumpet, an instrument that is now considered a specialty rather than the standard. Trumpet players must thus find ways to reconcile the inherent differences between Baroque and current approaches to playing by combining research from early treatises, important trumpet publications, and technical and philosophical input from performance practice essays. -
September 2007 Published by the American Recorder Society, Vol
september 2007 Published by the American Recorder Society, Vol. XLVIII, No. 4 XLVIII, Vol. American Recorder Society, by the Published Edition Moeck 2825 Celle · Germany Tel. +49-5141-8853-0 www.moeck.com NEW FROM MAGNAMUSIC American Songs Full of Songs Spirit & Delight Fifteen pieces For TTB/SST freely arranged for The twenty lovely recorder trio, SAT, pieces in this by Andrew aptly named set Charlton. Classics demonstrate why like America, Michael East in Battle Hymn of the his time was Republic, America arguably one of the Beautiful, The the most popular Caisson Song, of the Elizabethan Columbia, the Gem composers. of the Ocean, The Marines Hymn, Chester, Complete edition from the original score, with Battle Cry of Freedom, All Quiet along the intermediate difficulty. 3 volumes. $8.95 each Potomac, I'm a Yankee Doodle Dandy, Vol. 1 ~ TTB Vol. 2 ~ TTB Vol. 3 ~ SST Marching through Georgia, and more! TR00059 TR00069 TR00061 Item No. JR00025 ~ $13.95 IN STOCK NOW! An inspiring and instructive guide for everyone who plays the recorder (beginner, intermediate, experienced) and wants to play more beautifully. The Recorder Book is written with warmth and humor while leading you in a natural, methodical way through all the finer points of recorder playing. From selecting a recorder to making it sing, from practicing effectively to playing ensemble, here is everything you need. This is a most enjoyable read, whether you are an amateur or an expert. The repertoire lists have been updated, out-of-print editions have been removed, and edition numbers have been changed to reflect the most recent edition numbering.