VBF 2021 Program FINAL
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Composer Suggestions for the Euphonium
Euphonium: 3-Valve, 4-Valve, and 4-Valve Compensating Euphoniums: (The low range and intonation will differ depending on how many valves you have) *see attached chart Breath capacity Articulations: staccato, accents, slurred, legato tonguing, no marking Trills and Tremoli Double and Triple Tonguing Extended Techniques: Flutter Tonguing and Multi-phonics Mutes (You MUST allow time to put the mute in and adjust tuning slide) Composer Suggestions: “The euphonium is often called the “cello” of the band or the “shortstop” of a ball team.” Counter Melodies are great! It can be treated as an individual or be combined with the Clarinets, Horns, Saxes and other brasses. Earlier band literature treated it as an a “cello”, but more recent composers and arrangers are often treating it in a “new and lesser” role. They often give it the upper octave of the tuba part or treat it like a 3rd trombone. It has many more capabilities! The Euphoniums role changes depending on what group it is in. (Orchestras, Jazz Combos, Chamber Ensembles, and British Brass Bands) For example, in a British Brass Band it is treated in this way: The euphonium part is flexible and is often compared to that of the `cello in an orchestra. It is equally at home doubling the solo cornet line an octave down, as a melodic or counter-melodic lead, doubling the Bb bass an octave up or occasionally with the 1st trombone. The range of the part is large: most players will be comfortable over more than two octaves, from low G to top A, with the occasional higher note. -
Playing Harmonica with Guitar & Ukulele
Playing Harmonica with Guitar & Ukulele IT’S EASY WITH THE LEE OSKAR HARMONICA SYSTEM... SpiceSpice upup youryour songssongs withwith thethe soulfulsoulful soundsound ofof thethe harmonicaharmonica alongalong withwith youryour GuitarGuitar oror UkuleleUkulele playing!playing! Information all in one place! Online Video Guides Scan or visit: leeoskarquickguide.com ©2013-2016 Lee Oskar Productions Inc. - All Rights Reserved Major Diatonic Key labeled in 1st Position (Straight Harp) Available in 14 keys: Low F, G, Ab, A, Bb, B, C, Db, D, Eb, E, F, F#, High G Key of C MAJOR DIATONIC BLOW DRAW The Major Diatonic harmonica uses a standard Blues tuning and can be played in the 1st Position (Folk & Country) or the 2 nd Position (Blues, Rock/Pop Country). 1 st Position: Folk & Country Most Folk and Country music is played on the harmonica in the key of the blow (exhale) chord. This is called 1 st Position, or straight harp, playing. Begin by strumming your guitar / ukulele: C F G7 C F G7 With your C Major Diatonic harmonica Key of C MIDRANGE in its holder, starting from blow (exhale), BLOW try to pick out a melody in the midrange of the harmonica. DRAW Do Re Mi Fa So La Ti Do C Major scale played in 1st Position C D E F G A B C on a C Major Diatonic harmonica. 4 4 5 5 6 6 7 7 ©2013-2016 Lee Oskar Productions Inc. All Rights Reserved 2nd Position: Blues, Rock/Pop, Country Most Blues, Rock, and modern Country music is played on the harmonica in the key of the draw (inhale) chord. -
Home School Winter Spring 2019.Pub
WINTER // SPRING 2019 HOME SCHOOL Winter January 16th-March 6th 8 Weeks Spring March 20th-May 15th 8 Weeks, SKIPS APRIL 3rd 10:00am-11:00am ARTIST TRADING CARDS (AGE 7+) Join Miles Davis in creating your very own trading cards. From Pokémon to Star Wars, trading cards are able to capture your imagination. Create your own characters, cartoons and more in this Artist Trading Cards class. Instructor Miles Davis Fees per session: $48 (R) $72(N) Supply Fee: $10 Winter: 7085 Wed Jan 16th-Mar 6th Spring: 7086 Wed Mar 20th-May 15th ART-RAGEOUS ABSTRACT ADVENTURES (AGE 6-11) Get ready for wild art ride! Students will work with a variety of unique and crea- tive materials to create abstract art of all types! Instructor: Kimberly Ford Fees per session: $48(R) $72(N) Supply Fee: $10 Winter: 7087 Wed Jan 16th-Mar 6th Spring: 7088 Wed Mar 20th-May 15th AGES 9-18 $250 TO REGISTER FOR AUDITIONS BEGINNER UKULELE (AGE 6-8) Begin the process of learning the Ukulele. This group class setting will teach the CALL 770-819-3285 FOR MORE DETAILS. basics of Ukulele, chords, and simple songs. Ukulele's provided. Instructor: Reid Stevens Fees per session: $48 (R) $72(N) Supply Fee: $5 Winter: 7091 Wed Jan 16th-Mar 6th Spring: 7092 Wed Mar 20th-May 15th A TOUCH OF HISTORY (AGE 5-8) Through stories, crafts and activities, Children will learn about Native Americans, Pilgrims, Gold Rush, Slavery, and the Underground Railroad and more. Special Activities will include: River Cane Blow Gun Demonstration, Panning for Gold, making a north star quilt scrap (paper). -
Instrument Care Guide Contents
Kent Music Instrument Care Guide Contents Introduc� on Pg 3 About Instrument Hire Pg 4 Guitars and Ukuleles Pg 5 Brass Pg 6 Percussion Pg 8 Strings Pg 12 Woodwind Pg 14 Introduction An essential part of the Music Resources Kent Hire/Loan Agreement is that you take good care of the musical instruments supplied to your school. It is important to keep them safe and well maintained. This booklet aims to give you basic guidelines on how to store, clean, and look after musical instruments. Schools should be aware that musical instruments are fragile and expensive. It is the school’s responsibility to maintain the instruments Hired/Loaned to them. It is recommended that you: • Ensure the instruments are treated with care at all times as directed by the teacher • Only allow instruments to be used by pupils as appropriate • Make sure that space is made available for the safe keeping of the instruments. When instruments are not being played, they should be kept securely in the cases provided For information regarding tuition and ensembles, please visit our website www.kent-music.com. If you would like any further instrument advice, please contact us at Music Resources Kent. Felicity Redworth Music Resources Team Leader 01622 358442 [email protected] 3 About Music Resources Kent Instrument hire is available for all Kent schools and academies through Music Resources Kent. Music Plus instruments are available for free whilst non-Music Plus instruments are hired at a special school rate. Music Resources Kent offer a free delivery and collection service by arrangement. -
Soprano Cornet
SOPRANO CORNET: THE HIDDEN GEM OF THE TRUMPET FAMILY by YANBIN CHEN (Under the Direction of Brandon Craswell) ABSTRACT The E-flat soprano cornet has served an indispensable role in the British brass band; it is commonly considered to be “the hottest seat in the band.”1 Compared to its popularity in Britain and Europe, the soprano cornet is not as familiar to players in North America or other parts of world. This document aims to offer young players who are interested in playing the soprano cornet in a brass band a more complete view of the instrument through the research of its historical roots, its artistic role in the brass band, important solo repertoire, famous players, approach to the instrument, and equipment choices. The existing written material regarding the soprano cornet is relatively limited in comparison to other instruments in the trumpet family. Research for this document largely relies on established online resources, as well as journals, books about the history of the brass band, and questionnaires completed by famous soprano cornet players, prestigious brass band conductors, and composers. 1 Joseph Parisi, Personal Communication, Email with Yanbin Chen, April 15, 2019. In light of the increased interest in the brass band in North America, especially at the collegiate level, I hope this project will encourage more players to appreciate and experience this hidden gem of the trumpet family. INDEX WORDS: Soprano Cornet, Brass Band, Mouthpiece, NABBA SOPRANO CORNET: THE HIDDEN GEM OF THE TRUMPET FAMILY by YANBIN CHEN Bachelor -
The Composer's Guide to the Tuba
THE COMPOSER’S GUIDE TO THE TUBA: CREATING A NEW RESOURCE ON THE CAPABILITIES OF THE TUBA FAMILY Aaron Michael Hynds A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS August 2019 Committee: David Saltzman, Advisor Marco Nardone Graduate Faculty Representative Mikel Kuehn Andrew Pelletier © 2019 Aaron Michael Hynds All Rights Reserved iii ABSTRACT David Saltzman, Advisor The solo repertoire of the tuba and euphonium has grown exponentially since the middle of the 20th century, due in large part to the pioneering work of several artist-performers on those instruments. These performers sought out and collaborated directly with composers, helping to produce works that sensibly and musically used the tuba and euphonium. However, not every composer who wishes to write for the tuba and euphonium has access to world-class tubists and euphonists, and the body of available literature concerning the capabilities of the tuba family is both small in number and lacking in comprehensiveness. This document seeks to remedy this situation by producing a comprehensive and accessible guide on the capabilities of the tuba family. An analysis of the currently-available materials concerning the tuba family will give direction on the structure and content of this new guide, as will the dissemination of a survey to the North American composition community. The end result, the Composer’s Guide to the Tuba, is a practical, accessible, and composer-centric guide to the modern capabilities of the tuba family of instruments. iv To Sara and Dad, who both kept me going with their never-ending love. -
Victorian Brass Bands: the Establishment of a 'Working Class Musical Tradition'
HERBERT 1 VICTORIAN BRASS BANDS: THE ESTABLISHMENT OF A 'WORKING CLASS MUSICAL TRADITION' Trevor Herbert y the end of Queen Victoria's reign, brass bands were one of the principal focuses of community music making in the United Kingdom. There were, if we are to believe the optimistic forecasts in one publication, 40,000 of them.1 Such a Bstatistic would indicate that the number of people playing in brass bands by the end of the century was something in the region of 800,000. At about the same time, audience attendance at open air brass band contests was, according to the highest estimate, 160,000 at a single event. This figure was quoted in the popular press following the 1900 National Brass Band Contest at the Crystal Palace. It should not, of course, be taken literally, but it is probably a good indicator of popular impression. When Queen Victoria ascended to the throne in 1837, the term '"brass band" meant nothing more than an ensemble of miscellaneous wind instruments in which brass instruments were prominent. At the end of the century the term was more closely defined. Brass bands had become the raison d'etre for a discrete but significant segment of the British music industry and for a widespread and intricate organizational structure that was largely controlled by working-class people. Since the end of the nineteenth century, the British brass band has had a standard line up of instruments - cornets in Bb (4 'solo', 2 seconds, 2 thirds plus one 'repiano'), 1 soprano cornet in Eb, 1 flugel horn in Bb, 3 tenor saxhorns in Eb, 2 baritone saxhorns in Bb, 2 euphoniums in Bb, 2 Eb basses, 2 BBb basses, 2 tenor trombones, 1 bass trombone, and percussion. -
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A SURVEY OF ACTIVE BRASS BANDS IN THE STATE OF OHIO A Thesis Presented in Partial Fulfillment of the Requirements for the Degree Master of Arts in the Graduate School of The Ohio State University By Diana Droste Herak, B.M.E. * * * * * The Ohio State University 1999 Master's Examination Committee: Approved by Dr. Jon Woods, Adviser Dr. Jere Forsythe __a,_fL_}j)-A?L~---- Dr. Russel Mikkelson v--- Adviser School of Music Copyright by Diana Droste Herak 1999 ABSTRACT In England, many adult amateur musicians continue playing their instruments throughout their lives in the brass band world. In contrast, American adult musicians rarely continue performing once their school days are over. By conducting a survey of the current status of active brass bands in Ohio, it is the intent of this study to offer an historical background of each band, bring more exposure to the brass band movement, and promote brass banding as a musically worthwhile activity for adult amateur musicians. Not much is known about the history and current status of the brass band movement in America. In 1992, Dr. Ned Mark Hosler completed a dissertation entitled “The Brass Band Movement in North America: A Survey of Brass Bands in the United States and Canada.” The intent of this thesis was to focus specifically on British-style brass bands in the state of Ohio. A questionnaire was administered to a sample population of British brass bands in Ohio. The categories covered in the survey included basic information, band origin, membership demographics, instrumentation, organizational structure, rehearsals/performances, public/community support, repertoire, the impact of the North American Brass Band Association, and general considerations. -
Easy Fancy Chords (Etc.) for Beginners and Non-Beginners — Part 2 (Updated March 18, 2021)
Easy Fancy Chords (etc.) for beginners and non-beginners — Part 2 (updated March 18, 2021) Wood County District Public Library Ukulele Club — WCDPL.org/ukulele-club Grande Royale Ükulelists of the Black Swamp — grubsmusic.com For more Ukulele Club stuff, including the “Uke Club Shorts” video series and Part 1 of this document, see the library website: https://wcdpl.org/ukulele-club Questions? We’re reachable by email at [email protected] or on Facebook at https:// www.facebook.com/grubsmusic/ Part 1 was aimed mostly at beginners, and the information in this document is a bit more advanced, but as always the goal is to start making real music as early as possible, in the easiest possible ways. Ironically, C, F, and G are usually the three chords people expect beginners to learn first, so they can play songs in the “Key of C” … but as you already know they’re not the easiest to play! Each of these chords, in first position on the ukulele, requires a different number of fingers and a different hand shape. Here (and in Uke Club Shorts #8 and #9), we’ll show you how to play those “basic” C, F, and G chords at last — first the “easy fancy” way, and then the “standard” way. FYI: There are good reasons to start in the key of C when learning to play the piano and some other instruments, or when learning to read music notation, but it’s not the best place to start when learning to play the ukulele … or the guitar, or the trombone, or a lot of other instruments! The “Easy Fancy Way” to play in the key of C (Shorts #8) The fretboard diagrams below are a little taller than usual, because this set of fingerings goes all the way up to the seventh fret. -
Beginners Ukulele Songbook
BEGINNERS UKULELE SONGBOOK 1. READING CHORD CHARTS Soprano Ukulele Neck Ukulele Chord Chart Nut Nut Fret 1 Fret 1 Fret 2 Fret 2 Fret 3 Fret 3 Fret 4 Fret 4 Fret 5 Fret 5 String = g C E A g C E A 2. COMMON CHORDS IN THE KEY OF C The white numbers in the black circles refer to which finger could be used. OR 3. HE'S GOT THE WHOLE WORLD IN HIS HANDS – 2 CHORDS IN C (Time 4/4 1…2…123 ) He's Got The [C] Whole World In His Hands He's Got The [G7] Whole, Wide World In His Hands He's Got The [C] Whole World In His Hands He's Got The [G7] Whole World In His [C] Hands He's Got The [C] Little Bitty Baby In His Hands He's Got The [G7] Little Bitty Baby In His Hands He's Got The [C] Little Bitty Baby In His Hands He's Got The [G7] Whole World In His [C] Hands He's Got [C] Everybody Here In His Hands He's Got [G7] Everybody Here In His Hands He's Got [C] Everybody Here In His Hands He's Got [G7] Whole World In His [C] Hands 4. WHEN THE SAINTS GO MARCHING IN – 4 CHORDS IN C Oh, when the [C] Saints go marching in, oh, when the Saints go marching [G7] in, I want to [C] be [C7] in that [F] number, when the [C] Saints go [G7] marching [C] in. Oh, when the [C] sun refuse to shine, oh, when the sun refuse to [G7] shine, I want to [C] be [C7] in that [F] number, when the [C] sun reG7]fuse to [C] shine. -
Ukuleles, Volumes, and Recorders
Ukuleles, Volumes, and Recorders: A Workshop in Three Acts Drue M. Bullington Orff Schulwerk Elemental Music and Movement Specialist [email protected] www.druebullington.com Greater Cincinnati Orff Schulwerk Association www.acemm.us February 9, 2019 Act 1: Ukulele Ukulele Starter Kit: How to integrate the ukulele into the Orff Schulwerk classroom How fast and easy is it for students to go from holding a ukulele for the first time to strumming chords and singing? How about playing melodies? Reading tablature? Improvising? Accompanying other instruments and singers? Great questions! The Ukulele is able to be seamlessly integrated into your elementary, middle or high school classroom fitting hand in glove with the Orff Schulwerk Approach already at - - play there. Everyone's happier with a uke in their hands! © Drue M. Bullington 2019 All rights reserved GCOSA 1 “Ukuleles, Volumes, and Recorders” The User-Friendly Ukulele A Rationale for include the Ukulele into the General Music and Movement Classroom The Ukulele is an accessible fretted string instrument. It is an appropriately-sized instrument for younger, smaller hands with less strength in their fingers for shaping chords. The ukulele has easily transferable skills to guitar or other fretted instruments. It meshes seamlessly with the current trends in mainstream music education approaches. It can be an accompaniment instrument on drone/pedal, shifting and functional harmonies of I, IV, V (and beyond). The ukulele is entirely capable of playing simple, complex, or highly chromatic melodies. It is portable and can be easily played on the move. The ukulele also provides a concrete aspect of elemental music and movement that students can take with them beyond the classroom and into young adulthood and further forward through the rest of their lives. -
Get Creative with Recorders and Boomwhackers Denise Gagne, OMEA 2015 [email protected] Join the Musicplay Teachers Group on Facebook!
Get Creative with Recorders and Boomwhackers Denise Gagne, OMEA 2015 [email protected] Join the Musicplay Teachers Group on Facebook! Stages of Learning: Imitation ~ Exploration ~ Improvisation/Creating Imitation ~ echo what teacher plays T: B BA G G S: B BA G G T: G E G.... S: G E G..... Exploration ~ Improvisation Question-Answer T: B BA GA B S: BB AA GG G question should not have a final point, but a good answer should Creating: Ostinato is a great way to begin composing (short and limited range) 7. Au Claire de la lune BAG (mrd) ostinato on (d l,s,) G E D Hot Cross Buns BAG (mrd) ostinato on (d l,s,) G E D 14. Trampin’ BAG (mrd) ostinato on (d l,s,) G E D 18. Frog in the Middle G E D (d l,s,) with GAB ostinato (drm) 21. My Paddle BAG E (mrd l,) ostinato on s,l, d D E G 9. Hot Cross Buns - create variation Rondo - create B section use only BAG E, q qr Q Composition Template - an excellent culminating project on either recorders or Boomwhackers in Teaching Reading Music with Boomwhackers can’t begin with one note - start with 5: CDEFG (Demo how to begin note reading with Boomwhackers) Recorder compositions can be completed by individual student, but with Boomwhackers composition needs to be a group effort. • begin by having students create the rhythm • then explore sounds for that rhythm using instruments, pencil in letter names • when they like what they have transfer to the staff • use BAG E They must end on G or E.