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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. -
The Orchestra in History
Jeremy Montagu The Orchestra in History The Orchestra in History A Lecture Series given in the late 1980s Jeremy Montagu © Jeremy Montagu 2017 Contents 1 The beginnings 1 2 The High Baroque 17 3 The Brandenburg Concertos 35 4 The Great Change 49 5 The Classical Period — Mozart & Haydn 69 6 Beethoven and Schubert 87 7 Berlioz and Wagner 105 8 Modern Times — The Age Of The Dinosaurs 125 Bibliography 147 v 1 The beginnings It is difficult to say when the history of the orchestra begins, be- cause of the question: where does the orchestra start? And even, what is an orchestra? Does the Morley Consort Lessons count as an orchestra? What about Gabrieli with a couple of brass choirs, or even four brass choirs, belting it out at each other across the nave of San Marco? Or the vast resources of the Striggio etc Royal Wedding and the Florentine Intermedii, which seem to have included the original four and twenty blackbirds baked in a pie, or at least a group of musicians popping out of the pastry. I’m not sure that any of these count as orchestras. The Morley Consort Lessons are a chamber group playing at home; Gabrieli’s lot wasn’t really an orchestra; The Royal Wed- dings and so forth were a lot of small groups, of the usual renais- sance sorts, playing in turn. Where I am inclined to start is with the first major opera, Monteverdi’s L’Orfeo. Even that tends to be the usual renaissance groups taking turn about, but they are all there in a coherent dra- matic structure, and they certainly add up to an orchestra. -
Boosey & Hawkes
City Research Online City, University of London Institutional Repository Citation: Howell, Jocelyn (2016). Boosey & Hawkes: The rise and fall of a wind instrument manufacturing empire. (Unpublished Doctoral thesis, City, University of London) This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/16081/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] Boosey & Hawkes: The Rise and Fall of a Wind Instrument Manufacturing Empire Jocelyn Howell PhD in Music City University London, Department of Music July 2016 Volume 1 of 2 1 Table of Contents Table of Contents .................................................................................................................................... 2 Table of Figures...................................................................................................................................... -
Funderburk, Jeff, "The Man and His Horn", T.U.B.A. JOURNAL May, 1988 P 43
Funderburk, Jeff, "The Man and his Horn", T.U.B.A. JOURNAL May, 1988 p 43 This fabulous tuba was reportedly designed by Bill Johnson, design engineer for the J.W. York Band Instrument Company of Grand Rapids, Michigan. According to the story, Leopold Stokowski, conductor of the Philadelphia Orchestra in the 1930s, approached the orchestra's tubist, Phillip Donatelli, and requested that he obtain a tuba that would provide a true organ like quality to the bass register of the orchestra. Mr. Donatelli consulted with the York Instrument Company, a firm noted for excellent tubas. Two instruments pitched in CC were built to order. These incorporated a medium-large piston valve section (larger than any built today!) and a large bore rotary fifth valve into the body of a Kaiser tuba with a 20-inch bell diameter. As fate would have it, Mr. Donatelli did not feel comfortable with these instruments. One reason for this was the very short leadpipe used on the instruments. Mr. Donatelli was overweight to the point that when he breathed, the instrument was forced away from him. There was no room on the chair for the two of them! Consequently, the instruments were sold. One instrument was sold to Arnold Jacobs, a student at Curtis Institute, for the price of $175, to be paid off at a rate of $5 per week. Mr. Jacobs and his tuba were so well liked by the orchestra director at the Curtis Institute - Fritz Reiner - that a limousine was sent on rehearsal days to collect the two of them from home. -
Califcrnia Institute Of
FEBRUARY, 1959 50e CALIFCRNIA INSTITUTE OF F E tri 1 0 1959 TECHNO! OGY 1 ENGINFF-ntA,.. LIBRARY www.americanradiohistory.com basic contributions to our culture Invention of the screw propeller in 1836 by John Ericsson provided water transportation with a means for using steam power that was far superior to any method of propulsion previously devised. In our day radial refraction, brought to you by the laboratories of James B. Lansing Sound, Inc., provides the best-and perhaps the ultimate-method of reproducing two channel stereophonic music in your home. Radial refraction integrates two, balanced 1BL precision loudspeaker systems to eliminate the "hole in the middle," obviate "split" soloists, and to distribute the stereo effect over a wide area. The two, full -range, balanced speaker systems used reproduce all of the phenomena required for full stereo perception. Radial refraction was first used in the JBL Ranger -Paragon, a magnificent instrument that has found its way into the great homes of audio cognoscente throughout the world. Now a smaller unit, the JBL Ranger-Metregon, has been designed to bring radially refracted stereo to the usual -sized living room. No less than seven different JBL speaker systems may be used with the Metregon. You may wish to make use of JBL transducers you,now own for one channel, and install matching units in the other. You may progressively upgrade your Metregon system. Write for a complete description of the JBL Ranger-Metregon and the name and address of the Authorized JBL Signature Audio Specialist in your community. i!! JAMES B. LANSING SOUND, INC., 3249 Casitas Ave., Los Angeles 39, Calif. -
Tutti Brassi
Tutti Brassi A brief description of different ways of sounding brass instruments Jeremy Montagu © Jeremy Montagu 2018 The author’s moral rights have been asserted Hataf Segol Publications 2018 Typeset in XƎLATEX by Simon Montagu Why Mouthpieces 1 Cornets and Bugles 16 Long Trumpets 19 Playing the Handhorn in the French Tradition 26 The Mysteries of Fingerhole Horns 29 Horn Chords and Other Tricks 34 Throat or Overtone Singing 38 iii This began as a dinner conversation with Mark Smith of the Ori- ental Institute here, in connexion with the Tutankhamun trum- pets, and progressed from why these did not have mouthpieces to ‘When were mouthpieces introduced?’, to which, on reflection, the only answer seemed to be ‘Often’, for from the Danish lurs onwards, some trumpets or horns had them and some did not, in so many cultures. But indeed, ‘Why mouthpieces?’ There seem to be two main answers: one to enable the lips to access a tube too narrow for the lips to access unaided, and the other depends on what the trumpeter’s expectations are for the instrument to achieve. In our own culture, from the late Renaissance and Early Baroque onwards, trumpeters expected a great deal, as we can see in Bendinelli’s and Fantini’s tutors, both of which are avail- able in facsimile, and in the concert repertoire from Monteverdi’s L’Orfeo onwards. As a result, mouthpieces were already large, both wide enough and deep enough to allow the player to bend the 11th and 13th partials and other notes easily. The transition from the base of the cup into the backbore was a sharp edge. -
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. -
Fluent in French
Fluent in French A Band Director’s Guide to Understanding and Teaching the French Horn Practical Application Project #1 MUSI 6285 Jonathan Bletscher 2 Table of Contents Introduction 4 Part One: Understanding the Horn 5 Horn History 5 Rotary Valves and Anatomy of the Horn 8 - Common Rotary Valve Problems 12 - Disassembling and Reassembling a Rotary Valve 14 - Replacing Rotary Valve String 21 Horn in F and Horn in Bb: Transposing Instruments 26 The Seven Chromatic Brass Fingerings 28 The Overtone Series 30 7 Fingerings, 7 Fundamentals, and 7 Series: Filling in the Gaps 35 The Partial Grouping Method 37 Horn Fingering Tricks 41 Trouble Fitting In: Why Horns Aren’t Like Everyone Else (In the Brass Family) 45 Part Two: Teaching the Horn 47 Picking Your Horn Players 47 Equipping for Success 48 Posture and Holding the Horn 49 Making a Sound on the Horn 53 Common Problems with Horn Embouchure 56 Horn Fingerings 58 Instrument Maintenance 61 Developing as a Horn Player 63 Teaching Strategies 67 More to Learn 70 About the Author 71 Bibliography 72 3 Introduction Consider a student who is about to begin the very frst day of learning a foreign language. The student is pre- sented with very basic vocabulary, is led to dabble in speaking and writing, and very slowly begins absorbing the sound, feel, and structure of the language. This is not unlike the experience of a student learning his or her frst instrument. This slow and steady approach is designed to be the frst step in a years-long sequence of instruction and study for a student who is brand new to the subject. -
Solo List and Reccomended List for 02-03-04 Ver 3
Please read this before using this recommended guide! The following pages are being uploaded to the OSSAA webpage STRICTLY AS A GUIDE TO SOLO AND ENSEMBLE LITERATURE. In 1999 there was a desire to have a required list of solo and ensemble literature, similar to the PML that large groups are required to perform. Many hours were spent creating the following document to provide “graded lists” of literature for every instrument and voice part. The theory was a student who made a superior rating on a solo would be required to move up the list the next year, to a more challenging solo. After 2 years of debating the issue, the music advisory committee voted NOT to continue with the solo/ensemble required list because there was simply too much music written to confine a person to perform from such a limited list. In 2001 the music advisor committee voted NOT to proceed with the required list, but rather use it as “Recommended Literature” for each instrument or voice part. Any reference to “required lists” or “no exceptions” in this document need to be ignored, as it has not been updated since 2001. If you have any questions as to the rules and regulations governing solo and ensemble events, please refer back to the OSSAA Rules and Regulation Manual for the current year, or contact the music administrator at the OSSAA. 105 SOLO ENSEMBLE REGULATIONS 1. Pianos - It is recommended that you use digital pianos when accoustic pianos are not available or if it is most cost effective to use a digital piano. -
A Brief History of Piston-Valved Cornets'
337 A Brief History of Piston-valved Cornets' Niles Eldredge The bewildering array of cornet design over the past 175 years or so has defied simple description, categorization, and classification. Yet major themes in cornet design readily emerge on closer study—and while no straightforward classification of comets is possible,' historical analysis of the sequence of major design changes does have the effect of reducing the welter of cornet variation to a manageably simpler picture than heretofore available. I shall restrict my analysis to B6 soprano brasswinds of approximately 41 /2 feet in length, equipped either with the earlier Stolzel valves, or with the succeeding Perinet valves— mentioning comets pitched higher (especially in E6, but also in C where designs differ from those in B6), as well as in lower pitches, only in passing.' Likewise, I consider only "mainstream" instruments most commonly used by amateur and virtuoso professional alike—but excluding such instruments as "echo bell" and "pocket" comets. Finally, in confining my gaze to comets, and thereby excluding trumpets and fluegelhorns (again, except in passing), we immediately confront the question: What, exactly, is a cornet? What Is a cornet? Conventional wisdom has it that a cornet is a soprano brasswind of some 41/2 feet of tubing that (1) has, at least ideally, approximately 2/3 of its length in conical shape, 1/3 cylindrical (the reverse being said to be optimal for trumpets4); (2) tubing coiled in two complete 360° turns (typically 11/2 such turns to the "leadpipe" section between mouthpiece and valves, and a final 180° turn after the bell tubing exits the first valve); thus cornets are usually shorter than Perinet-valved trumpets, which retain the much older single 360°-turn design of most natural trumpets; and (3) a deep, funnel-shaped cup mouthpiece—more similar to a horn, than to a trumpet, mouthpiece. -
Old Stock List
04 November 2018 SAUNDERS RECORDERS BRISTOL www.saundersrecorders.com PRODUCTS For more information contact:- [email protected] The price of an out of stock item is likely to be different when it comes back into stock. 8 - Sheet Music, is visible for historic information, only. (Most prices are from January 2015.) System Product Price (£) In Order 1 - Recorder 01 Recorder Sundries Code Code Inc.VAT Stock Status 1 - Recorder 01 Recorder Sundries Antikondens 25027 MOL6138 2.50 Coolsma Thumb Rest. pearwood 34159 E005D 5.00 Cork Grease (cup) 31776 MOL6130 0.90 Cork Grease, lipstick style. 26185 MOL6131 2.25 Hard Case, Descant & Treble. 20930 2HC 84.95 Hard Case, Quartet (NSAT) 19972 4HC 145.00 Hard Case, Trio (NSA) 19941 3HC 80.00 Instrument Hire 36658 IH Instrument Loan 41669 IL Instrument Loan - Bass 41690 ILB Instrument Loan - Tenor 41683 ILT Instrument Loan - Treble 41676 ILA Instrument Service etc. 6606 JNE Kung Recorder Case, 6 Slot. 42017 KNG9964 175.00 Moeck Maintenance Kit (alt) 18241 KITa 19.95 Moeck Maintenance Kit (sopran) 31370 KITs 19.99 Moeck Recorder catalogues/leaflets. Small bundle! 41102 41102 Mollenhauer Recorder Maintenance Kit 43663 MOL6132 15.00 Mollenhauer Soft case for S+A, black 43496 MOL7710 21.50 Mollenhauer Teaching Aids pack 43090 MOL6233 14.60 Recorder Oil 31493 OIL 1.00 Recorder Unspecified 2783 R Roll Bag 12 Pocket 7450 86801 54.95 Sling, SR custom spare. 43731 SLING 6.00 Special Service (Moeck) 38430 38430 Thumb Hole Bushing 23993 THB 35.00 Thumb Rest Adjustable brass with ring. 43052 MOL6211 40.38 Thumb Rest, brass with ring. -
Comp Book Directions
COMPREHENSIVE EXAMINATION INSTRUCTIONS AND UPDATES August 2014 A Comprehensive Examination Check-Form is included for both INSTRUMENTAL and CHORAL majors. You should select the appropriate form (see below) and have appropriate faculty sign each component as you pass this off. Comprehensive Examinations must be completed and this form must be submitted to the appropriate Dean by the specified deadline prior to the student teaching experience. (It is recommended that students keep a copy of their completed check form for their records.) INSTRUMENTAL MAJORS are defined as students who have a major applied instrument as follows: Flute, Clarinet, Saxophone, Oboe, Bassoon, Trumpet, Horn, Trombone, Euphonium (Baritone), Tuba, Percussion, Violin, Viola, Cello, String Bass. Instrumental majors, with the exception of piano and guitar, are not required to take a comp on their major instrument. VOCAL MAJORS are defined as students who study major applied voice, guitar* or piano*. *Piano and Guitar majors may opt to be Instrumental Majors. INSTRUMENT CHECK OUT PROCEDURE If you need to check out a VanderCook instrument to prepare for a comprehensive examination, please keep the following in mind: 1. All instruments are issued through the ensembles office, with the exceptions of cellos and basses. These must be checked out through Prof. Eccles. 2. Students may check out an instrument for a period of no longer than 2 weeks. A fine of $1.00/day will be charged for overdue instruments. 3. Students may have no more than two instruments checked out for comprehensive exams at one time. 4. Students needing a cello or bass should check one out through Prof.