47Th Idrs Conference
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Catalogue 2021
medir .cat Catalogue 2021 Summary Clarinet Sax Historic Instruments Bassoon Oboe & English Horn Traditional & Folk Bag Pipe & Uilleann Pipe Cork Summary Clarinet 04 Sax 12 Historic Instruments 21 Bassoon 28 Oboe & English Horn 51 Traditional & Folk Instruments 73 Bag pipe & Uilleann Pipe 79 Cork 88 medir.cat 03 Clarinet medir.cat 04 Summary Clarinet Sax Historic Instruments Bassoon Oboe & English Horn Traditional & Folk Bag Pipe & Uilleann Pipe Cork Medir Reeds C108 Bb Clarinet - 10 pieces C1085 Bb Clarinet - 5 pieces C117 Eb Clarinet - 10 pieces C1175 Eb Clarinet - 5 pieces Strenght: 1,5 / 2 / 2,5 / 3 / 3,5 / 4 / 4,5 / 5 C113 Bass Clarinet - 10 pieces C1135 Bass Clarinet - 5 pieces C108 C1085 Strenght: 2 / 2,5 / 3 / 3,5 / 4 / 4,5 C113 C108 medir.cat 05 Summary Clarinet Sax Historic Instruments Bassoon Oboe & English Horn Traditional & Folk Bag Pipe & Uilleann Pipe Cork Medir Cane C101 Clarinet Tube Cane - 1 Kg Diameter: >25mm / Thickness >3 mm C103 Bb Clarinet Splits - 100 pieces Length: 69 mm / Thickness: >3 mm C104 Bb Clarinet Flat Blank - 100 pieces Length: 69 mm / Thickness: 2,2 mm C101 C103 C105 Bb Clarinet Blanks - 100 pieces Filled / Unfilled C106 Bb German Clarinet Blanks - 100 pieces C107 Eb Petit Clarinet Blanks - 100 pieces Filled C104 C105 medir.cat 06 Summary Clarinet Sax Historic Instruments Bassoon Oboe & English Horn Traditional & Folk Bag Pipe & Uilleann Pipe Cork Mouthpieces C110B Bb Clarinet C110E Eb Clarinet C110BS Bb Bass Clarinet Tip opening: close, 3, 4, 5, 6, open Ligatures C111 C111B Bb Clarinet C111E Eb Clarinet -
The Identification of Basic Problems Found in the Bassoon Parts of a Selected Group of Band Compositions
Utah State University DigitalCommons@USU All Graduate Theses and Dissertations Graduate Studies 5-1966 The Identification of Basic Problems Found in the Bassoon Parts of a Selected Group of Band Compositions J. Wayne Johnson Utah State University Follow this and additional works at: https://digitalcommons.usu.edu/etd Part of the Music Commons Recommended Citation Johnson, J. Wayne, "The Identification of Basic Problems Found in the Bassoon Parts of a Selected Group of Band Compositions" (1966). All Graduate Theses and Dissertations. 2804. https://digitalcommons.usu.edu/etd/2804 This Thesis is brought to you for free and open access by the Graduate Studies at DigitalCommons@USU. It has been accepted for inclusion in All Graduate Theses and Dissertations by an authorized administrator of DigitalCommons@USU. For more information, please contact [email protected]. THE IDENTIFICATION OF BAS~C PROBLEMS FOUND IN THE BASSOON PARTS OF A SELECTED GROUP OF BAND COMPOSITI ONS by J. Wayne Johnson A thesis submitted in partial fulfillment of the r equ irements for the degree of MASTER OF SCIENCE in Music Education UTAH STATE UNIVERSITY Logan , Ut a h 1966 TABLE OF CONTENTS INTRODUCTION A BRIEF HISTORY OF THE BASSOON 3 THE I NSTRUMENT 20 Testing the bassoon 20 Removing moisture 22 Oiling 23 Suspending the bassoon 24 The reed 24 Adjusting the reed 25 Testing the r eed 28 Care of the reed 29 TONAL PROBLEMS FOUND IN BAND MUSIC 31 Range and embouchure ad j ustment 31 Embouchure · 35 Intonation 37 Breath control 38 Tonguing 40 KEY SIGNATURES AND RELATED FINGERINGS 43 INTERPRETIVE ASPECTS 50 Terms and symbols Rhythm patterns SUMMARY 55 LITERATURE CITED 56 LIST OF FIGURES Figure Page 1. -
WOODWIND INSTRUMENT 2,151,337 a 3/1939 Selmer 2,501,388 a * 3/1950 Holland
United States Patent This PDF file contains a digital copy of a United States patent that relates to the Native American Flute. It is part of a collection of Native American Flute resources available at the web site http://www.Flutopedia.com/. As part of the Flutopedia effort, extensive metadata information has been encoded into this file (see File/Properties for title, author, citation, right management, etc.). You can use text search on this document, based on the OCR facility in Adobe Acrobat 9 Pro. Also, all fonts have been embedded, so this file should display identically on various systems. Based on our best efforts, we believe that providing this material from Flutopedia.com to users in the United States does not violate any legal rights. However, please do not assume that it is legal to use this material outside the United States or for any use other than for your own personal use for research and self-enrichment. Also, we cannot offer guidance as to whether any specific use of any particular material is allowed. If you have any questions about this document or issues with its distribution, please visit http://www.Flutopedia.com/, which has information on how to contact us. Contributing Source: United States Patent and Trademark Office - http://www.uspto.gov/ Digitizing Sponsor: Patent Fetcher - http://www.PatentFetcher.com/ Digitized by: Stroke of Color, Inc. Document downloaded: December 5, 2009 Updated: May 31, 2010 by Clint Goss [[email protected]] 111111 1111111111111111111111111111111111111111111111111111111111111 US007563970B2 (12) United States Patent (10) Patent No.: US 7,563,970 B2 Laukat et al. -
The City, the Girls, the Composer…The Phenomenon
THE CITY, THE GIRLS, THE COMPOSER…THE PHENOMENON: INFLUENCES ON THE PERFORMANCE OF VIVALDI‟S BASSOON CONCERTOS AT THE OSPEDALE DELLA PIETÀ A Thesis Presented to The Graduate Faculty of The University of Akron In Partial Fulfillment of the Requirements for the Degree Master of Music Cynthia M. Duda August, 2009 THE CITY, THE GIRLS, THE COMPOSER…THE PHENOMENON: INFLUENCES ON THE PERFORMANCE OF VIVALDI‟S BASSOON CONCERTOS AT THE OSPEDALE DELLA PIETÀ Cynthia M. Duda Thesis Approved: Accepted: ______________________________ ______________________________ Advisor Dean of the College Dr. Brooks A. Toliver Dr. James M. Lynn ______________________________ ______________________________ Faculty Reader Dean of the Graduate School Mr. Galen S. Karriker Dr. George R. Newkome ______________________________ ______________________________ Department Chair Date Dr. William K. Guegold ii TABLE OF CONTENTS Page CHAPTER I. INTRODUCTION ...........................................................................................................1 Vivaldi......................................................................................................................3 Venice ......................................................................................................................6 The Ospedali ..........................................................................................................11 II. OSPEDALE DELLA PIETÀ ........................................................................................15 Daily Lives .............................................................................................................16 -
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. -
The Giants of the Dulcian Family an Exploration of the Doppel Fagott and Fagotcontra in the Writings of Michael Praetorius
Prejeto / received: 10. 4. 2019. Odobreno / accepted: 12. 9. 2019. doi: 10.3986/dmd15.1-2.06 THE GIANTS OF THE DULCIAN FAMILY AN Exploration of the Doppel Fagott and Fagotcontra in the Writings of Michael Praetorius Wouter Verschuren Royal College of Music, London and Koninklijk Conservatorium, Den Haag Izvleček: Veliki dulcijani so bili pomembna Abstract: Large dulcians were prominent mem- basovska glasbila za izvajanje glasbe 16. in 17. bers of the bass group in music of the sixteenth stoletja. Razprava se osredotoča na dvojni fagot and seventeenth centuries. This article focuses in kontrafagot, kot ju v svojem delu Syntagma on the Doppel Fagott and the Fagotcontra as musicum opisuje Michael Praetorius. described by Michael Praetorius in his Syn- tagma musicum. Ključne besede: dulcijan, dvojni fagot, kontraf- Keywords: dulcian, Doppel Fagott, Fagotcontra, agot, Michael Praetorius, Syntagma musicum Michael Praetorius, Syntagma musicum In the sixteenth and seventeenth centuries, bass double-reed instruments were likely to be the most potent instruments able to sustain the bass part in compositions performed in large acoustic spaces. In spacious churches, high pitched instruments, such as the cornetto and the recorder, can sound crystal clear, whereas large bass instruments tend to become blurred and muffled as regards articulation. The distinctive “reedy” sound of bass double-reed instruments carries remarkably well in large spaces and is, therefore, a valuable addition to the continuo group. This article will focus on the Doppel Fagott and the Fagotcontra as described by Michael Praetorius in his Syntagma musicum (1614–1620). The Dulcian The dulcian is a double reed instrument, developed in the early sixteenth century suppos- edly by the Bassano family in the Veneto. -
Ebook Download Baroque Woodwind Instruments 1St Edition Ebook, Epub
BAROQUE WOODWIND INSTRUMENTS 1ST EDITION PDF, EPUB, EBOOK Paul Carroll | 9781351574662 | | | | | Baroque Woodwind Instruments 1st edition PDF Book Because this arrangement of the fingers looked vaguely like the tines of a fork, some musicians call it a fork fingering. Recorders flauti dolci are sometimes used to express humility or poverty, such as in Bach's cantata Brich dem Hungrigen dein Brot , BWV Carrying forward Baroque practice, composers in the Classical era also wrote chamber music for mixed ensembles of winds with piano or strings or wind concerti, such as those for clarinet and bassoon by Mozart. A bassoon reed is bound with thread and wire over a steel mandrel, which is later removed to leave a hollow rounded stem. Examples of this type of flute include the recorder , ocarina , and organ pipes. Main article: Woodwind section. However, the larger sizes were unwieldy, which made them somewhat rare. The shawm became so closely associated with the town waits die Stadtpfeifer in German and I pifferi in Italian that it was also known as the wait-pipe. Wind instrument Article Media Additional Info. The saxophone, for example, though made of brass, is considered a woodwind because it requires a reed to produce sound. Wind instrument Article Media Additional Info. Because of the acoustic characteristics of flutes and reeds, only a few pitches are available on instruments lacking finger holes. Single-reed woodwinds produce sound by fixing a reed onto the opening of a mouthpiece using a ligature. This family includes the crumhorn. Later, flutes were made of metals such as tin , copper , or bronze. -
Woodwinds Flute Engaging the Past Semantic Issues
Woodwinds Welcome to the Woodwinds lecture! By the end of this lecture, you will be able to: • Identify historical and physical characteristics of the flute, the piccolo flute, the clarinet, the oboe, the English horn, the bassoon and the contrabassoon. • Identify the role and use of the flute, the piccolo flute, the clarinet, the oboe, the English horn, the bassoon and the contrabassoon. • Recognize the characteristic sounds of the flute, the piccolo flute, the clarinet, the oboe, the English horn, the bassoon and the contrabassoon. • Visually recognize the flute, the piccolo flute, the clarinet, the oboe, the English horn, the bassoon and the contrabassoon. Flute Why do loud, obnoxious whistles exist at some factories? • To give us some sort of appreciation for flutes. The flute may perhaps be the most exciting of all the woodwind instruments. Its versatile character allows it to be a regular fixture in all musical genres. Why is this so? Let’s go find out! Engaging the Past The flute is the oldest woodwind instrument. Historians estimate that flute-like instruments can be traced as far back as the 9th century B.C. Prehistoric artwork shows evidence of the use of flute like instruments. The modern mechanism of the flute was invented by Theobald Boehm. He was a German goldsmith who was an adept mechanical artist. He lived in Munich from 1794 to 1881. A flute player himself, Mr. Boehm designed and built flutes with his own key mechanism. His key system revolutionized the modern design of the flute since it allowed flute players to play difficult passages with ease. -
Medium of Performance Thesaurus for Music
A clarinet (soprano) albogue tubes in a frame. USE clarinet BT double reed instrument UF kechruk a-jaeng alghōzā BT xylophone USE ajaeng USE algōjā anklung (rattle) accordeon alg̲hozah USE angklung (rattle) USE accordion USE algōjā antara accordion algōjā USE panpipes UF accordeon A pair of end-blown flutes played simultaneously, anzad garmon widespread in the Indian subcontinent. USE imzad piano accordion UF alghōzā anzhad BT free reed instrument alg̲hozah USE imzad NT button-key accordion algōzā Appalachian dulcimer lõõtspill bīnõn UF American dulcimer accordion band do nally Appalachian mountain dulcimer An ensemble consisting of two or more accordions, jorhi dulcimer, American with or without percussion and other instruments. jorī dulcimer, Appalachian UF accordion orchestra ngoze dulcimer, Kentucky BT instrumental ensemble pāvā dulcimer, lap accordion orchestra pāwā dulcimer, mountain USE accordion band satāra dulcimer, plucked acoustic bass guitar BT duct flute Kentucky dulcimer UF bass guitar, acoustic algōzā mountain dulcimer folk bass guitar USE algōjā lap dulcimer BT guitar Almglocke plucked dulcimer acoustic guitar USE cowbell BT plucked string instrument USE guitar alpenhorn zither acoustic guitar, electric USE alphorn Appalachian mountain dulcimer USE electric guitar alphorn USE Appalachian dulcimer actor UF alpenhorn arame, viola da An actor in a non-singing role who is explicitly alpine horn USE viola d'arame required for the performance of a musical BT natural horn composition that is not in a traditionally dramatic arará form. alpine horn A drum constructed by the Arará people of Cuba. BT performer USE alphorn BT drum adufo alto (singer) arched-top guitar USE tambourine USE alto voice USE guitar aenas alto clarinet archicembalo An alto member of the clarinet family that is USE arcicembalo USE launeddas associated with Western art music and is normally aeolian harp pitched in E♭. -
An Overview of the Historical Development of the Bassoon
An overview of the historical development of the bassoon Part 1 in the series “A Bundle of Joy, handbook for the bassoon” by Maarten Vonk An e-book as a free gift on occasion to the outcome of the new website FagotAtelier Maarten Vonk The premier bassoon workshop in the Netherlands for more than 30 years, where bassoonists from all over the world feel at home. This is a free e-book and cannot be sold. But you can give it away as may times you like to other bassoon players! FagotAtelier Maarten Vonk, historical development of the bassoon 2013 An overview of the historical development of the bassoon Musicians have been travelers for centuries, a privilege they shared – often through necessity – with noblemen, peddlers, soldiers and pilgrims. They played in groups attached to bishoprics, courts of the nobility, towns, army battalions or theatrical companies for as long as the boss would pay them, and if a band or orchestra was reduced in ranks or done away with altogether, they would take themselves off to pastures new to show off their artistry. Wind players and percussionists, with their loud and portable instruments, often played in the open air at processions, celebrations or pitched battles. Double reed instruments were already being used on such occasions in classical antiquity, and the middle ages saw the development of instruments like the crumhorn, shawm, korholt and bombard, the last of which played in the bass register. In the Renaissance period, polyphonic music was played on instruments from the same family and a quartet of crumhorns or viols was then described as a consort. -
Liste Der Besetzungsangaben Gemäß CISAC-Standard
LISTE DER BESETZUNGSANGABEN GEMÄSS CISAC-STANDARD CISAC-ID „Typ/type Deutsche Bezeichnung / CISAC-Standard Alternative Bezeichnung / Alternative designation I = Instrument/Instruments Designation in German E = Ensemble/Standard Instrumentation“ ACC I AKKORDEON ACCORDION BAJAN, BASSORGEL (= BASSAKKORDEON), E-AKKORDEON, HANDHARMONIKA, HARMONIKA, KNOPFAKKORDEON, MELODEON, PIANOAKKORDEON, SCHIFFERKLAVIER, SCHRAMMELDUO, STEIRISCHE HANDHARMONIKA, TRECKBUEDEL, ZIACH ALB I ALBOKA ALBOKA ALP I ALPHORN ALP HORN ALPENHORN ARC I ALTBLOCKFLOETE ALTO RECORDER AFL I ALTFLOETE ALTO FLUTE AHN I ALTHORN ALTO HORN ACL I ALTKLARINETTE ALTO CLARINET ASX I ALTSAXOPHON ALTO SAXOPHONE BKA I BALALAIKA BALALAIKA DOMRA BBF I BAMBUSFLOETE BAMBOO FLUTE BDN I BANDONEON BANDONEON BANDONEOM, BANDONION, BANDONIUM BNJ I BANJO BANJO GITARRBANJO, MANDOLINBANJO BAR I BARITONHORN BARITONE HORN BSX I BARITONSAXOPHON BARITONE SAXOPHONE BQF I BAROCKFLOETE BAROQUE FLUTE BRC I BASSBLOCKFLOETE BASS RECORDER BHN I BASSETTHORN BASSET HORN BFT I BASSFLOETE BASS FLUTE BGT I BASSGITARRE BASS GUITAR AKUSTISCHE BASSGITARRE, GUITARRON BCL I BASSKLARINETTE BASS CLARINET BOB I BASSOBOE BASS OBOE BARITONOBOE BRT I BASSPOSAUNE BASS TROMBONE BSP I BASSSAXOPHON BASS SAXOPHONE BDR I BASSTROMMEL BASS DRUM ATABAQUE, BOMBO, DAVUL, GRAN CASSA, GRAND CASSA, GROSSE TROMMEL, HUANCAR, KHOL, TINYA CYM I BECKEN CYMBALS CHINA-BECKEN, CRASH-BECKEN, GEGENSCHLAGBECKEN, NIETENBECKEN, RIDE- BECKEN, SIZZLE-BECKEN, SPLASH-BECKEN, ZIMBEL, HI-HAT HAR I BLASHARMONIKA HARMONICA CHROMONIKA, CLAVIETTA, CLAVIOLA, MELODICA, -
Class Choice Form Winter Weekend Workshop 2019 Name: ______Please Indicate First and Second Choices for Each Period by Writing 1 Or 2 in Front of the Class
Class Choice Form Winter Weekend Workshop 2019 Name: ____________________________________ Please indicate first and second choices for each period by writing 1 or 2 in front of the class. First Period Classes 9:00-10:30 (Saturday, Sunday, and Monday) GIVE 1ST AND 2ND CHOICES! _____Master Class: □ Voice (Baird, Katz acc.) | □ Recorder (Degrugillier) | □ Violin (Roberts, C.) | □ Flute (Roberts, G.) | □ Oboe (Burgess) | □ Viol (Cunningham) | □ Harpsichord (Cok) □ Bassoon/Dulcian (Merriman) Public “private lessons” for advanced students who have prepared a piece. Indicate whether you wish to perform or audit. If performing, give name of piece and bring at least 8 copies of the score so all may look on. A=415. Vocal master class performers limited to auditioned students only; auditors welcome. Recorder master class limited to 9 players; sign up early and give 2nd choice. Audit___ Perform___ Piece______________________________________________________________________ (recorders only) a=440?___ 415?___ Accompanist needed?______ _____ Homages & Laments (Haas, Horst, Petersen, Powers) Fifteenth-century Franco-Flemish composers were a tight-knit group—colleagues, rivals, but also mentors, protégés, and friends, who were aware of each other’s work even while working at great distance from one another. From the generation of Du Fay to the generation of Josquin and beyond, they emulated one another’s compositions, creating dynasties of musically related works. Love songs were composed honoring women known to the composer/poet. Colleagues sometimes penned heartfelt lamentations in honor of a deceased artist, writing some of the most expressive vocal polyphony of the Renaissance. One section of this class will read from original notation; please let us know if you are interested.