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2021-Brass-Audition-Packet.Pdf
Dear Brass Line Candidate, Thank you for your interest in the 7th Regiment Drum and Bugle Corps! This packet will serve as your primary resource for video auditions. Read everything in this booklet carefully and prepare all of the required materials to the best of your ability. VISUAL AUDITION MATERIALS Basics of Marching Technique: Our technique program is “straight leg” marching; that is, we strive for the longest line between our hip and ankle bone at all times. Allowing the leg to bend at the knee shortens that line. The following are basic definitions for those who are unfamiliar with our technique. ● We stand in first position. With your heels together you will turn your feet outward 45 degrees. This turnout will come from the hips. Make sure your knees are in line with your middle toe. ● Horn Carriage: When at playing position (or carry) create a wide triangle with your forearms and horn. ● Forward March: articulate each beat with the back of your heel as you move forward and generate the longest possible leg line on the crossing counts. ● Backwards March: articulate each beat with the platform of your foot keeping your heel low to the ground as you move backward and generate the longest possible leg line on the crossing counts. ● Crossing Counts: The point at which your ankle bones are right next to each other while marching. This should happen on the ‘& count’ when marching in a duple (4/4) meter. ● 5 Points of Alignment: generate uniform posture by keeping your ears (1), shoulders (2), hips (3), and knees (4) stacked vertically from your ankle bones (5). -
Brass Teacherõs Guide
Teacher’s Guide Brass ® by Robert W.Getchell, Ph. D. Foreword This manual includes only the information most pertinent to the techniques of teaching and playing the instruments of the brass family. Its principal objective is to be of practical help to the instrumental teacher whose major instrument is not brass. In addition, the contents have purposely been arranged to make the manual serve as a basic text for brass technique courses at the college level. The manual should also help the brass player to understand the technical possibilities and limitations of his instrument. But since it does not pretend to be an exhaustive study, it should be supplemented in this last purpose by additional explanation from the instructor or additional reading by the student. General Characteristics of all Brass Instruments Of the many wind instruments, those comprising the brass family are perhaps the most closely interrelated as regards principles of tone production, embouchure, and acoustical characteristics. A discussion of the characteristics common to all brass instruments should be helpful in clarifying certain points concerning the individual instruments of the brass family to be discussed later. TONE PRODUCTION. The principle of tone production in brass instruments is the lip-reed principle, peculiar to instruments of the brass family, and characterized by the vibration of the lip or lips which sets the sound waves in motion. One might describe the lip or lips as the generator, the tubing of the instrument as the resonator, and the bell of the instrument as the amplifier. EMBOUCHURE. It is imperative that prospective brass players be carefully selected, as perhaps the most important measure of success or failure in a brass player, musicianship notwithstanding, is the degree of flexibility and muscular texture in his lips. -
New Century Saxophone Quartet Press
New Century Saxophone Quartet Press KALAMAZOO GAZETTE Thursday, July 12, 2007 Saxophone ensemble shows off versatility By C.J. Gianakaris uesday in South Haven and Precise, synchronized playing Wednesday night at Brook Lodge T in Augusta, Fontana Chamber Arts was matched by a balanced presented the New Century blend … A total winner. Saxophone Quartet. Its playing of a wide range of works, by seven different By the last half of the concert, it composers, initiated the audience in the became clear that certain compositions musical possibilities of such ensembles. lend themselves more to saxophone sound The New Century features Michael than others. The first section of Astor Stephenson on soprano saxophone, Chris- Piazzolla’s marvelous “Histoire du topher Hemingway on alto saxophone, Tango,” arranged by Claude Voirpy, was Stephen Pollock on tenor saxophone and a total winner. Infectious tango rhythms Connie Frigo on baritone saxophone. worked well for saxes, as did tapping of After marching in while playing Bob the instrument’s body — a technique Mintzer’s invigorating “Contraption,” the heard often in Piazzolla’s music. ensemble turned to five selections from George Gershwin’s great American J.S. Bach’s “Art of the Fugue,” BMV opera “Porgy and Bess” also sounded 1080. Immediately impressive was the especially fine. Our ears are accustomed velvety aura emanating from different to hearing Gershwin played with soaring saxophones possessing varying ranges. reed instruments, clarinet or sax, Precise, synchronized playing was deliberately scored. So the sounds were matched by a balanced blend, suggesting warm and familiar. saxophones could present Bach’s works as well as other instruments. -
Guide to Band and Orchestral Instruments
Mater Dei College Music Department GUIDE TO BAND AND ORCHESTRAL INSTRUMENTS PICTURE INFORMATION ENSEMBLES SEE/HEAR IT The flute is part of the woodwind family. Flute Ensemble, http://www.yout FLUTE Unlike woodwind instruments with reeds, a Junior Concert ube.com/watch?v flute is a reedless wind instrument that Band, Senior =LI3wIHFQkAk&fe produces its sound from the flow of air Concert Band, ature=related across an opening. The flute produces a Solos and beautiful, light tone and is flexible enough Chamber to be used in many contexts and ensembles. Ensembles The clarinet is a very versatile instrument. It Clarinet http://www.yout CLARINET has three very distinctive ranges that it can Ensemble, Junior ube.com/watch?v produce. The lowest register is rich and Concert Band, =9CkK-LM6Oe0 hollow in sound. The middle register is Senior Concert smooth sounding. The upper register Band, Solos Jazz sounds thin and shrill. Band The oboe has been a favourite among Junior Concert http://www.yout BASS GUITAR composers for the last 300 years. The Band, Senior ube.com/watch?v appeal is the reedy sound which is good for Concert Band, =iy3V2Tl4g3s staccato melodies. The oboe unique and Swing Band one of the most interesting instruments to learn. The saxophone is a relatively recent Saxophone http://www.yout ALTO SAXOPHONE invention - it was created in the 1840's to Ensemble, Junior ube.com/watch?v bridge the tonal gap between lower Concert Band, =Ul5K9fVwsKI woodwind section and the low brass Senior Concert section. The saxophone - informally called Band, Solos Jazz sax - uses a reed in the mouthpiece, much Band like clarinets do. -
All-Region Unified Etude
Alto Saxophone All-Region Unified Etude Music Education Coalition 2020 Luke Macmillan Music adapted from ATSSB Moderato œ # 4 œ œ œ œ™ œœ œ œ™ œœ œ œ œ™ œ œ œ œ œ œ œ œ œ œ™nœ & #4 œ™ œœ œ #œ œ œ mf marcato 5 œ œ # œ œ œ œ™ œœ œ œ™ œœ œ œ œ™ œ œœœ œ ™nœ œœœœ œœ œ œ & # œ#œ œ œ nœ ™ œ p 9 œ # œ œœbœ œ œ œ œnœ bœ™ œœ œ œ œ œnœ œ œ œœœ#œœ & #nœ œ œ™ œ œ nœœ nœ ™ cresc. 13 ## œ & J ‰ Œ Ó f Baritone Saxophone All-Region Unified Etude Music Education Coalition 2020 Luke Macmillan Music adapted from ATSSB Moderato # 4 œ œ œ œ™ œœ œ œ œ œ œ & #4 œ œ™ œ œ œ œ œ œ œ œ œ™ œœ œ #œ œ œ œ™nœ mf marcato œ ™ œ 5 nœ # œœœ œ œœœ œ œ™ œ & # œ œ œ œ™ œ œ œ œ œ œ#œ œ œ™nœ œ œ œ œ œ œ ™ œœ œ ™ œ p 9 # œ œ œ œ œnœ & #nœ œ œ™ œbœ œ œ œ œ œ œnœ bœ™ œœ œ nœœ nœ œœœ cresc. œ nœ œ™ #œœ 13 # & # j ‰ Œ Ó fœ Bassoon All-Region Unified Etude Music Education Coalition 2020 Luke Macmillan Music adapted from ATSSB Moderato ? 4 œ œ œ œ b4 œ œ œ™ œ œ œ œ œ œ œ œ œ™ œœ œ nœ œ œ œ™bœ mfœ marcatoœ œ ™ œœ œ ™ œ œ 5 ? œ œœœ œ œœ b œ œ œ œ œ œ™ œœ œ œ œ œ œ #œ œ™nœ œœœ œœ œ ™ œ ™ œ œœ nœœ™ p 9 ? œ œ™ œ bbœ œ œœbœ œ œ œ œnœ bœ™ œœ œ œbœ œ œœœnœ cresc. -
The Brass Family
Music 3rd-5th p. 1 Name ____________________________________________________ Class __________________________________ UNDERSTANDING MUSIC: THE BRASS FAMILY Ferndale 3rd-5th Elementary Music: Lesson 2 Paper Supplement DIRECTIONS: If you have online access, please refer to the lesson available at the following link. https://sway.office.com/TRcYkCJvbVYhllB5?ref=Link The online lessons provide more thorough and engaging examples of the concepts and activities. However, if you do not have online access, we want to be sure that students still receive the same information. Please read over the following lesson and complete the activities below with your child as best you can. Students using the online version can choose between the online “Exit Ticket,” the paper activities provided, or both. LESSON REVIEW: In the first lesson, we talked about three different music classes you might find down the road when you go to middle school: Choir, Band and String Orchestra. We showed you how instruments are grouped into four different families. The groups are called "families" because all the instruments in that group share some things in common. Today, we'd like to take a closer look at the brass family. If you have a chance to choose an instrument in middle school, you'll definitely need to know about the brass instruments. We want you to make an informed decision! So, we want you to know... How do the brass instruments make their sounds? How are they different from each other? Which brass instrument do you like the best? THE BRASS FAMILY: The Brass Family consists of 4 main instruments and are considered the muscle of the band. -
Tcm 492 Book
Musical Instruments _______________________________________________More About Music The String Family The string family of instruments includes stringed instruments that can make sounds using one of two methods. Method 1: The sound is produced by moving a bow across the strings. The violin, viola, cello, and string bass produce sound in this way. Bowed Strings Method 2: The sound is produced by plucking the strings. The guitar, banjo, and harp are some of the stringed instruments that produce sound in this way. Plucked Strings ©Teacher Created Resources, Inc. 103 #492 Focus on Composers Musical Instruments _______________________________________________More About Music The Keyboard Family Keyboards are instruments mat use a keyboard in some way to make sound. Some keyboard instruments make their sound when a key is pressed down and moves a small device called a plectrum that plucks the string. Harpsichords and spinets produce sound in this way. Electronic organs and electric pianos are widely used in many of the music styles of today. Electronic keyboard instruments produce a wide variety of sounds and special effects. keyboard harpsichord One of the most popular instruments makes its sound when a key is pressed down and a soft “hammer” hits the string or strings. This instrument is the piano. piano #492 Focus on Composers 104 ©Teacher Created Resources, Inc. Musical Instruments _______________________________________________More About Music The Woodwind Family Woodwinds are one of two families of wind instruments. Woodwind instruments were so named because they originally were made out of wood and were played by blowing into them. In modern times, not all woodwinds are made out of wood, but they are still played by blowing. -
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. -
Bid Awarded Item List
Bid Awarded Item List 1810 2018-2019 Music Bid Commodity Unit of Awarded Extended Code Description Vendor Measure Price Qty Price 18000010 Drum Heads: 16" MS1 White Bass, Evans, No substitutions BD16MS1W 233310-STEVE WEISS MUSIC EACH $21.31 1 $21.31 18000015 Drum Heads: 16" MX1 Black Bass, Evans, No substitutions BD16MX1BDH34516B 123468-CASCIO INTERSTATE MUSIC EACH $30.24 1 $30.24 18000020 Drum Heads: 16" MX1 White Bass, Evans, No substitutions BD16MX1WDH34516 123468-CASCIO INTERSTATE MUSIC EACH $26.94 1 $26.94 18000025 Drum Heads: 18" MS1 White Bass, Evans, No substitutions BD18MS1WDH52118 123468-CASCIO INTERSTATE MUSIC EACH $21.74 1 $21.74 18000030 Drum Heads: 18" MX1 Black Bass, Evans, No substitutions BD18MX1BDH34518B 123468-CASCIO INTERSTATE MUSIC EACH $32.24 1 $32.24 18000035 Drum Heads: 18" MX1 White Bass, Evans, No substitutions BD18MX1WDH34518 123468-CASCIO INTERSTATE MUSIC EACH $28.94 1 $28.94 18000040 Drum Heads: 20" MS1 White Bass, Evans, No substitutions BD20MS1WDH52120 123468-CASCIO INTERSTATE MUSIC EACH $23.24 1 $23.24 18000045 Drum Heads: 20" MX1 Black Bass, Evans, No substitutions BD20MX1BDH34520B 123468-CASCIO INTERSTATE MUSIC EACH $33.94 1 $33.94 18000050 Drum Heads: 20" MX1 White Bass, Evans, No substitutions BD20MX1WDH34520 123468-CASCIO INTERSTATE MUSIC EACH $30.94 1 $30.94 18000055 Drum Heads: 22" MS1 White Bass, Evans, No substitutions BD22MS1WDH52122 123468-CASCIO INTERSTATE MUSIC EACH $25.44 1 $25.44 18000060 Drum Heads: 22" MX1 Black Bass, Evans, No substitutions BD22MX1BDH34522B 123468-CASCIO INTERSTATE MUSIC -
Spectralism in the Saxophone Repertoire: an Overview and Performance Guide
NORTHWESTERN UNIVERSITY Spectralism in the Saxophone Repertoire: An Overview and Performance Guide A PROJECT DOCUMENT SUBMITTED TO THE BIENEN SCHOOL OF MUSIC IN PARTIAL FULFILLMENT OF THE REQUIREMENTS for the degree DOCTOR OF MUSICAL ARTS Program of Saxophone Performance By Thomas Michael Snydacker EVANSTON, ILLINOIS JUNE 2019 2 ABSTRACT Spectralism in the Saxophone Repertoire: An Overview and Performance Guide Thomas Snydacker The saxophone has long been an instrument at the forefront of new music. Since its invention, supporters of the saxophone have tirelessly pushed to create a repertoire, which has resulted today in an impressive body of work for the yet relatively new instrument. The saxophone has found itself on the cutting edge of new concert music for practically its entire existence, with composers attracted both to its vast array of tonal colors and technical capabilities, as well as the surplus of performers eager to adopt new repertoire. Since the 1970s, one of the most eminent and consequential styles of contemporary music composition has been spectralism. The saxophone, predictably, has benefited tremendously, with repertoire from Gérard Grisey and other founders of the spectral movement, as well as their students and successors. Spectral music has continued to evolve and to influence many compositions into the early stages of the twenty-first century, and the saxophone, ever riding the crest of the wave of new music, has continued to expand its body of repertoire thanks in part to the influence of the spectralists. The current study is a guide for modern saxophonists and pedagogues interested in acquainting themselves with the saxophone music of the spectralists. -
Yamaha 2018 Price List
two thousand eighte2en 01 8 accessories retail price lis t effective date: July 1, 2018 TABLE OF CONTENTS BRASSWIND MOUTHPIECES 1-4 REEDS 17-21 TRUMPET 1 SOPRANO CLARINET 17 CORNET, SHORT SHANK 2 CLARINET 17 CORNET, LONG SHANK 2 ALTO CLARINET 17 FLUGELHORN 2 BASS CLARINET 18 ALTO 2 CONTRA CLARINET 18 HORN 2-3 SOPRANINO SAXOPHONE 18 MELLOPHONE 3 SOPRANO SAXOPHONE 18 TROMBONE, SMALL SHANK TENOR 3 ALTO SAXOPHONE 19 TROMBONE, LARGE SHANK TENOR 3 TENOR SAXOPHONE 19-20 BASS TROMBONE 4 BARITONE SAXOPHONE 20 EUPHONIUM 4 BASS SAXOPHONE 20 TUBA 4 DOUBLE REEDS 20-21 SILENT BRASS ™ & MUTES 5-6 WOODWIND ACCESSORIES 22-30 SILENT BRASS SYSTEMS 5 LIGATURES 21-23 SILENT BRASS MUTES 5 MOUTHPIECE CAPS 24-25 TRADITIONAL MUTES 5-6 NECKSTRAPS 25-26 INSTRUMENT OILS & LUBRICANTS 26 BRASSWIND ACCESSORIES 7-9 MAINTENANCE KITS 26 BRASS INSTRUMENT OILS & LUBRICANTS 7 POLISHES & POLISHING CLOTHS 27 BRASS INSTRUMENT MAINTENANCE KIT 7 CLEANING SWABS 27 POLISHES & POLISHING CLOTHS 7 MAINTENANCE SUPPLIES 27-28 BRASS INSTRUMENT BRUSHES & CLEANING TOOLS 8 LIP PLATE & MOUTHPIECE PATCHES 28 PREMIUM MICROFIBER BRASS SWABS 8 REED TRIMMERS & SHAPERS 29 MISCELLANEOUS BRASS INSTRUMENT ACCESSORIES 9 REED CASES & STORAGE 29 BRASS INSTRUMENT LYRES 9 MISCELLANEOUS WOODWIND ACCESSORIES 29 INSTRUMENT LYRES 30 BRASSWIND CASES 10 WOODWIND CASES 31 WOODWIND MOUTHPIECES 11-16 PICCOLO CLARINET 11 RECORDERS & PIANICAS 32-33 SOPRANO CLARINET 11 PIANICAS 32 CLARINET 11-12 20 SERIES PLASTIC RECORDERS 32 ALTO CLARINET 12 300 SERIES PLASTIC RECORDERS 32 BASS CLARINET 12 400 SERIES PLANT-BASED -
The Early Evolution of the Saxophone Mouthpiece 263
THE EARLY EVOLUTION OF THE SAXOPHONE MOUTHPIECE 263 The Early Evolution of the Saxophone Mouthpiece The Early Saxophone Mouthpiece TIMOTHY R. ROSE The early saxophone mouthpiece design, predominating during half of the instrument’s entire history, represents an important component of the or nine decades after the saxophone’s invention in the 1840s, clas- saxophone’s initial period of development. To be sure, any attempt to re- Fsical saxophone players throughout the world sought to maintain a construct the early history of the mouthpiece must be constrained by gaps soft, rounded timbre—a relatively subdued quality praised in more recent in evidence, particularly the scarcity of the oldest mouthpieces, from the years by the eminent classical saxophonist Sigurd Rascher (1930–1977) nineteenth century. Although more than 300 original Adolphe Sax saxo- as a “smooth, velvety, rich tone.”1 Although that distinct but subtle tone phones are thought to survive today,2 fewer than twenty original mouth- color was a far cry from the louder, more penetrating sound later adopted pieces are known.3 Despite this gap in the historical record, this study is by most contemporary saxophonists, Rascher’s wish was to preserve the intended to document the early evolution of the saxophone mouthpiece original sound of the instrument as intended by the instrument’s creator, through scientific analysis of existing vintage mouthpieces, together with Antoine-Joseph “Adolphe” Sax. And that velvety sound, the hallmark of a review of patents and promotional materials from the late nineteenth the original instrument, was attributed by musicians, including Rascher, and early twentieth centuries.