Instrument Inventory Report
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Band Director's Catalog
BAND DIRECTor’s CATALOG We make legends. A division of Steinway Musical Instruments, Inc. P.O. Box 310, Elkhart, IN 46515 www.conn-selmer.com AV4230 1 TABLE OF CONTENTS Eb Soprano, Harmony & Eb Alto Clarinets ....... 10 Bb Bass, EEb Bass & BBb Bass Clarinets ........... 11 308 Student Instruments Step-Up & Pro Saxophones .............................. 12-13 Step-Up & Pro Bb Trumpets .............................. 14 Piccolos & Flutes ...................................................... 1 Step-Up & Pro Cornets ..................................... 14 Oboes & Clarinets .................................................... 2 C Trumpets, Harmony Trumpets, Flugelhorns .... 15 Saxophones .............................................................. 3 Step-Up & Pro Trombones ................................ 16-17 204 Trumpets & Cornets .................................................. 4 Alto, Valve & Bass Trombones .......................... 18 Trombones ............................................................... 5 Double Horns .................................................. 19 PICCOLOS Single Horns ............................................................ 5 Baritones & Euphoniums .................................. 20 Educational Drum, Bell and Combo Kits .................. 6 BBb Tubas - Three Valve .................................... 21 ARMSTRONG Mallet Instruments .................................................... 6 BBb & CC Tubas - Four Valve ............................ 21 204 “USA” – Silver-plated headjoint and body, silver-plated -
So You Want to Buy a Horn
So, You Want to Buy A Horn! Recommended brands: DOMESTIC Holton (Farkas 179, 180; H-188, H-105, H-190, H-191, Merker 175) Conn (8D, 8DY, 8DR, 10D, 10DR, 11D, and 11DR) King (Eroica) Yamaha (667, 667V, 668, 668V) FOREIGN Hoyer (6801 –Kruspe wrap; 6801K-Geyer wrap) Alexander (103, 200) Paxman (25, 23; the most popular bell sizes are L or A) Finke PRESTIGE HORNS Englebert Schmid Lawson Lewis Geyer Lechniuk Hill Rausch Berg McCraken Patterson Atkinson Kuehn OK, WHAT IS THE DIFFERENCE BETWEEN THESE INSTRUMENTS? It really all depends on what you are looking for. Domestic instruments, as well as some foreign instruments, are massed produced. This means that during a manufacturing ‘run,’ many instruments are coming off the assembly line in close succession. With regard to domestic makers, this is even more so as demand for instruments is greater than supply so there may be a waiting period for delivery of instruments. Thus, the manufacturer is concerned with meeting up with the supply. This means that there is not enough time to detail out the instrument, making sure that slides and valves are fitted properly or are in good alignment. When buying a new massed produced instrument, often the instrument will need a professional preparation, to bring it up to normal standards. It is an unfortunate circumstance, but often this is a common fact nowadays. Some mass produced instruments, such as the Conn 8D, have had a storied history. At certain times during their manufacture, these instruments were of superior quality and have many desired response traits. -
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. -
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. -
An Investigation of Novice Middle and High School Band Directors’ Knowledge of Techniques and Pedagogy Specific to the Horn
AN INVESTIGATION OF NOVICE MIDDLE AND HIGH SCHOOL BAND DIRECTORS’ KNOWLEDGE OF TECHNIQUES AND PEDAGOGY SPECIFIC TO THE HORN Jennifer B. Daigle A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC August 2006 Committee: Carol Hayward, Co-advisor Andrew Pelletier, Co-advisor Vincent J. Kantorski Charles Saenz © 2006 Jennifer B. Daigle All Rights Reserved iii ABSTRACT Carol Hayward, Advisor The purpose of this study was to determine novice middle school and high school band directors’ knowledge of techniques and pedagogy specific to the horn. Ten band directors currently teaching middle or high school band and who were in their first through fourth year of teaching were interviewed. Questions were derived from current brass methods textbooks and placed in one of the following six categories: (a) collegiate background; (b) teaching background; (c) embouchure, posture and right hand placement; (d) construction of single and double horns; (e) muted, stopped and miscellaneous horn pedagogy; (f) care and maintenance. Findings from this study indicate that novice middle and high school band directors have varying amounts of knowledge and expertise of the horn and, in general, are lacking fundamental knowledge of specific horn techniques. In addition, it appears that directors have more knowledge and understanding of concepts relating to the horn that are common to all brass instruments as opposed to concepts associated specifically with the horn. iv This thesis is dedicated to everyone who has helped inspire and motivate me to make music more than a hobby. I would like to thank family and friends for all their patience and encouragement throughout this process. -
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. -
Characterization And' Taxonomy Acoustical Standpoint
Characterization and' Taxonomy of Historic Brass Musical Instruments from ae Acoustical Standpoint Arnold Myers Ph.D. The University of Edinburgh 1998 I" V *\- Abstract The conceptual bases of existing classification schemes for brasswind are examined. The requirements of a taxonomy relating to the character of brass musical instruments as experienced by players and listeners are discussed. Various directly and indirectly measurable physical parameters are defined. The utility of these parameters in classification is assessed in a number of case studies on instruments in museums and collections. The evolution of instrument design since 1750 in terms of these characterization criteria is outlined. Declaration I declare that this thesis has been composed by me and that the work is my own. ? r % *} Acknowledgements I have been encouraged and helped by many in my investigations. My supervisors, D. Murray Campbell in the Department of Physics and Astronomy Christopher D.S. Field, and John Kitchen in the Faculty of Music have provided wise guidance whenever needed. Raymond Parks, Research Fellow in Fluid Dynamics, Department of Physics and Astronomy, University of Edinburgh, has given unfailing support, and has been responsible for much of the measuring equipment I have used. David Sharp has used the pulse reflectornetry techniques developed in the course of his own research to obtain bore reconstructions of numerous specimens for me. Herbert Heyde kindly discussed the measurement of historic brass instruments with me. Stewart Benzie has carried out instrument repairs for me and made the crook described in Chapter 5. I am grateful to the curators of many museums for allowing me access to the historic instruments in their care. -
Dr. Davidson's Recommendations for Trombones
Dr. Davidson’s Recommendations for Trombones, Mouthpieces, and Accessories Disclaimer - I’m not under contract with any instrument manufacturers discussed below. I play an M&W 322 or a Greenhoe Optimized Bach 42BG for my tenor work, and a Courtois 131R alto trombone. I think the M&W and Greenhoe trombones are the best instruments for me. Disclaimer aside, here are some possible recommendations for you. Large Bore Tenors (.547 bore) • Bach 42BO: This is an open-wrap F-attachment horn. I’d get the extra light slide, which I believe is a bit more durable, and, if possible, a gold brass bell. The Bach 42B was and is “the gold standard.” Read more here: http://www.conn-selmer.com/en-us/our-instruments/band- instruments/trombones/42bo/ • M&W Custom Trombones: Two former Greenhoe craftsman/professional trombonists formed their own company after Gary Greenhoe retired and closed his store. The M&W Trombones are amazing works of art, and are arguably the finest trombones made. The 322 or 322-T (T is for “Tuning-in Slide”) models are the tenor designations. I’m really a fan of one of the craftsman, Mike McLemore – he’s as good as they come. Consider this. These horns will be in-line, price-wise, with the Greenhoe/Edwards/Shires horns – they’re custom made, and will take a while to make and for you to receive them. That said, they’re VERY well-made. www.customtrombones.com • Yamaha 882OR: The “R” in the model number is important here – this is the instrument designed by Larry Zalkind, professor at Eastman, and former principal trombonist of the Utah Symphony. -
Paper ISMRA2016-63
Physics of Musical Instruments and the Voice: Paper ISMRA2016-63 Trumpet mouthpiece equivalent lengths Peter Hoekje(a), Hannah Hubbell(b) (a) Baldwin Wallace University, Dept. of Physics, Berea, OH 44017, U.S.A., [email protected] (b) Baldwin Wallace University, Dept of Physics, Berea, OH 44017, U.S.A., [email protected] Abstract The mouthpiece of a brass instrument serves two functions. On the one hand it provides a supportive interface to the player's lips. But it also controls the tuning of the instrument resonances, which should be harmonically related in order to give the best playing response. This acoustic effect of the mouthpiece is described by its frequency dependent equivalent length Leq, which can be defined as the shortest length of cylindrical tubing that could replace the mouthpiece and give the same boundary condition at the junction with the rest of the instrument. For most of the instrument resonances, Leq is shorter than 1/8 of the wavelength and the mouthpiece is well described by a two parameter model using the total volume and the frequency of its first or Helmholtz resonance. Any given mouthpiece may need to be tuned to its instrument in order to improve its playing characteristics, exemplified by a crescendo test and by an attack response test as well as by intonation of the various registers. Examples are given for a number of soprano brass instruments. Keywords: trumpet, mouthpiece, equivalent length Trumpet mouthpiece equivalent lengths 1 Introduction The mouthpiece of a brass instrument such as a trumpet is removable and often is purchased separately from the instrument. -
Sample Score
Low Range for the Horn Player Douglas Hill SAMPLE SCORE International Horn Society www.hornsociety.org Contents Introduction .......................................................................................................................................1 Detailed Checklist for the Low Register ...........................................................................................3 Quick-fix Checklist ............................................................................................................................5 Mouthpiece/Leadpipe/Buzz Pipe/BERP ......................................................................................... 6 Pitch Perfect Centers ........................................................................................................................ 9 Vowel Validations ............................................................................................................................ 11 The Pivot and the Shift ....................................................................................................................12 To Shift or Not to Shift .................................................................................................................... 15 Solid, Secure Sounds ....................................................................................................................... 17 Power Playing ..................................................................................................................................18 Stop It ............................................................................................................................................. -
Selected Manufacturer's Professional Trumpet Component Specifications: a Compendium of Measurements, Materials, and Playing Characteristics
Graduate Theses, Dissertations, and Problem Reports 2017 Selected Manufacturer's Professional Trumpet Component Specifications: A Compendium of Measurements, Materials, and Playing Characteristics Kenneth H. Piatt Follow this and additional works at: https://researchrepository.wvu.edu/etd Recommended Citation Piatt, Kenneth H., "Selected Manufacturer's Professional Trumpet Component Specifications: A Compendium of Measurements, Materials, and Playing Characteristics" (2017). Graduate Theses, Dissertations, and Problem Reports. 6416. https://researchrepository.wvu.edu/etd/6416 This Dissertation is protected by copyright and/or related rights. It has been brought to you by the The Research Repository @ WVU with permission from the rights-holder(s). You are free to use this Dissertation in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you must obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Dissertation has been accepted for inclusion in WVU Graduate Theses, Dissertations, and Problem Reports collection by an authorized administrator of The Research Repository @ WVU. For more information, please contact [email protected]. Selected Manufacturer’s Professional Trumpet Component Specifications: A Compendium of Measurements, Materials, and Playing Characteristics. Kenneth H. Piatt Research Project Submitted to the College of Creative Arts at West Virginia University in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Music Performance John Winkler, DMus, Chair Evan MacCarthy, Ph.D., Research Advisor Mitchell Arnold, DMA Keith Jackson, DMA Beth Royall, MM, MLIS School of Music Morgantown, West Virginia 2017 Keywords: Trumpet, Components, Measurements, Playing, Characteristics, Manufacturers, Bach, Getzen, B&S, Schilke, Yamaha, Edwards, Leadpipes, Bells, Bore Sizes, Models Copyright 2017 Kenneth H. -
Natural Horn Models
Natural Horn Models Engelbert Schmid Tiefenried Waldhörner Engelbert Schmid GmbH, Bellerweg 3, D-86513 Mindelzell Telefon (08282) 890412, Fax (08282) 890512 Email: [email protected] Engelbert Schmid Natural Horn Models What in the beginning was considered as a fashion, in the meantime has become a firm part of the music- world: often supported by the idealism of the performers, ensembles last which play on original instruments or their copies. In the same way as this music practice often trains the sound sensibility of the musicians, I as a hornmaker had to recall historic measures, material thicknesses and manufacturing methods. By the way, this also influenced the production method of our modern valve horn bells. Let me introduce you to the result of an intensive labour of development, which has spared no expense for material or tool costs, in total 4 Natural horn models: 1. "Corno da caccia". at the same time "Corno da tirarsi” I do not want to join in the discussion which baroque works shall or can be performed by hornplayers and which by trumpet-players, but I would rather call on both sides to realize the baroque sound-world. There simply is no baroque horn on which all baroque parts can be interpreted authentically. However there was a vast palette of instrument types, which offered an interesting and seamless transition from the trumpet to the hunting-horn with big bell. My "Corno da caccia"- version meets the brighter side of the sound-palette. "Corno da caccia", "Corno da tirarsi" Engelbert Schmid Original instrument, about 1730, Friedrich Ehe in Nurenberg, in high D, with C-crook and 2 intonation pieces, out of the museum Caroline Augusteum, Salzburg Description of my "Corno da caccia"- and at the same time "Corno da tirarsi"-version: Utilization: Parts for "Corno da caccia", "Corno da tirarsi", "Lituus” Keys: From High D to low C (with A=415Hz), crooks.