Music Text Set 2
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
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. -
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 English Slide Trumpet
262 HISTORIC BRASS SOCIETY JOURNAL THE ENGLISH SLIDE TRUMPET John Webb he most significant period in the evolution of the trumpet was the last two decades of the 18th century. Clearly, the art of natural trumpet playing was in decline, as exemplified by Burney's complaints about out-of-tune eleventh and thirteenth Tharmonics in a performance of "The Trumpet Shall Sound" by Sargant (1784): "He had not been bred in the clarion way of playing and could not temper these tones to their proper intonation."1 Three years later, we had Shaw's "Harmonic Trumpet,"2 the earliest surviving example of a brass instrument equipped with nodal venting. About the same time, hand-stopping was introduced (with the demi-lune trumpet, a natural instrument curved to make the bell accessible to one hand). The keyed trumpet, too, must have been around on the Continent for Haydn to have been familiar enough with its capabilities for his concerto (1796). In England, the big development was the slide trumpet. The only novelty about the slide trumpet was the slide-return mechanism. The principle of slides on trumpets goes back probably to the 15th century and the common ancestors of the trumpet and trombone. Many engravings exist of the Zugtrompete, the instrument that could move to and fro on its mouthpipe yard. A few, showing U-bend slide trumpets, have come to light. Three are reproduced here (Figures 1 a, lb and 1c). Their kinship with the trombone is hinted at in Figure 1 e, the Cellier woodcut (ca. 1585), as well as in several descriptions: Trevor Herbert, in his article "The Sackbut in England in the 17th and 18th centuries," cites a 1692 dictionary definition of a sackbut as a "drawing trumpet".3 There is also Burney's "sackbut or double trumpet" (see note 1), Cerone and Mersenne's "sackbut or harmonic trumpet," and, of course, there are a number of engravings of the English flat trumpet with their "sackbut" captions.4 Figure 1 d shows the most familiar flat trumpet depiction. -
Performing on the Trombone: a Chronological Survey David M
Performance Practice Review Volume 9 Article 6 Number 2 Fall Performing on the Trombone: A Chronological Survey David M. Guion Follow this and additional works at: http://scholarship.claremont.edu/ppr Part of the Music Practice Commons Guion, David M. (1996) "Performing on the Trombone: A Chronological Survey," Performance Practice Review: Vol. 9: No. 2, Article 6. DOI: 10.5642/perfpr.199609.02.06 Available at: http://scholarship.claremont.edu/ppr/vol9/iss2/6 This Article is brought to you for free and open access by the Journals at Claremont at Scholarship @ Claremont. It has been accepted for inclusion in Performance Practice Review by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. Performing on the Trombone: a Chronological Survey David M. Guion The trombone is one of the oldest wind instruments currently in use. The trumpet, horn, and flute have a longer history, but have changed in construction and playing technique far more than the trombone, which reached its present form sometime in the 15 century. The name "trombone," Italian for "big trumpet," is attested as early as 1439. The German word Posaune may have referred to an instru- ment with a slide as early as 1363.1 The old English word "sack- but," on the other hand, first appeared in 1495, and cognate terms appeared in Spain and France not much earlier than that. Therefore the confusing and misleading practice of referring to a baroque-style trombone as a sackbut should be abandoned. Using two words for a trombone wrongly implies two different instruments, and at times leads to the erroneous notion that the sackbut is the "forerunner" of the trombone. -
Rcs Brief List
RCS BRIEF LIST ROYAL CONSERVATOIRE OF SCOTLAND BRIEF LIST OF THE HISTORIC MUSICAL INSTRUMENT COLLECTION Including the John Webb Collection Contents Instruments of Regional Cultures Plucked and Hammered string instruments Bowed String Instruments Flageolets and Recorders Transverse Flutes Oboes Bassoons Clarinets Miscellaneous woodwind-related items French Horns Bugles, Flugelhorns, Serpents and Ophicleides Post horns, Cornets and Ballad Horns Althorns, Tenor Horns and Baritones Euphoniums and Tubas Trumpets Trombones Small Mouthpieces for Brasswind Large Mouthpieces for Brasswind Miscellaneous brasswind-related items Keyboard and Miscellaneous Instruments Return to Contents Instruments of Regional Cultures (50) Duct flute; bamboo, 5 finger-holes. (48) Flute, dark stained bamboo; decorated. Probably China. (44) Suona [shawm], double reed attached by string. Possibly China. (555) Small buchel or alphorn. Possibly Switzerland, early or mid 20th century. (557) Birch bark horn. Jarkko Aallonloiske, Turku, Finland, 1992. (558) Tuohitorvi. Jarkko Aallonloiske, Turku, Finland, 1991. (34) Gunibri [bow harp]. Africa. (6) Tambur, 4 strings. India. (33) Saz, 4 strings. (30) Bow harp, 8 strings. (25) Tambura, 5 strings. India. (71) Xylophone, 15 bars. Central Africa. (67) Lamellaphone. (72) Barrel drum. Probably India. (73) Drum, 2 heads. Probably India. RCS Historic Instrument Collections.html[29/03/2016 15:47:45] RCS BRIEF LIST (78) Drum, 1 head. Probably India. (75) Tall drum, single head. Central Africa. (74) Barrel drum, 2 heads. India. (59) Wooden club with pointed head, said to be a drum beater. (57) Wooden club, said to be a drum beater [not seen]. Return to Contents Plucked and Hammered string instruments (7) Aeolian harp. T. Prowse, London, c 1800. (18) British Lute, 16 strings. -
(EN) SYNONYMS, ALTERNATIVE TR Percussion Bells Abanangbweli
FAMILY (EN) GROUP (EN) KEYWORD (EN) SYNONYMS, ALTERNATIVE TR Percussion Bells Abanangbweli Wind Accordions Accordion Strings Zithers Accord‐zither Percussion Drums Adufe Strings Musical bows Adungu Strings Zithers Aeolian harp Keyboard Organs Aeolian organ Wind Others Aerophone Percussion Bells Agogo Ogebe ; Ugebe Percussion Drums Agual Agwal Wind Trumpets Agwara Wind Oboes Alboka Albogon ; Albogue Wind Oboes Algaita Wind Flutes Algoja Algoza Wind Trumpets Alphorn Alpenhorn Wind Saxhorns Althorn Wind Saxhorns Alto bugle Wind Clarinets Alto clarinet Wind Oboes Alto crumhorn Wind Bassoons Alto dulcian Wind Bassoons Alto fagotto Wind Flugelhorns Alto flugelhorn Tenor horn Wind Flutes Alto flute Wind Saxhorns Alto horn Wind Bugles Alto keyed bugle Wind Ophicleides Alto ophicleide Wind Oboes Alto rothophone Wind Saxhorns Alto saxhorn Wind Saxophones Alto saxophone Wind Tubas Alto saxotromba Wind Oboes Alto shawm Wind Trombones Alto trombone Wind Trumpets Amakondere Percussion Bells Ambassa Wind Flutes Anata Tarca ; Tarka ; Taruma ; Turum Strings Lutes Angel lute Angelica Percussion Rattles Angklung Mechanical Mechanical Antiphonel Wind Saxhorns Antoniophone Percussion Metallophones / Steeldrums Anvil Percussion Rattles Anzona Percussion Bells Aporo Strings Zithers Appalchian dulcimer Strings Citterns Arch harp‐lute Strings Harps Arched harp Strings Citterns Archcittern Strings Lutes Archlute Strings Harps Ardin Wind Clarinets Arghul Argul ; Arghoul Strings Zithers Armandine Strings Zithers Arpanetta Strings Violoncellos Arpeggione Keyboard -
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♭. -
The Earliest French Tutor for Slide Trumpet
106 HISTORIC BRASS SOCIETY JOURNAL THE EARLIEST FRENCH TUTOR FOR SLIDE TRUMPET Friedrich Anzenberger he Bibliotheque Nationale of Paris has a very small but interesting "tutor" for slide trumpet, entitled Tablature dresseepour la trompette a coulissemecanique— the earliest French tutor for this instrument. It consists of a single sheet, which Tis reproduced in Figure 1. The slide trumpet played an important role in the development of the brass family of instruments. During the 19th century it was particularly popular in England, where its use can be documented through the '80's, primarily on the authority of Thomas Harper father (1756-1853) and son (1816-1898).1 The instrument was invented by John Hyde, principal trumpet at the Opera and at the King's Concerts of Ancient Music in London, and built by an instrument maker named Woodham. The instrument had its slide in the upper bend (which faces the player) and featured a resetting mechanism. Hyde used the slide to correct the intonation of the natural tones and to lower the naturals by a semitone,2 while Thomas Harper, Sr. lowered the open tones by a whole step as well.3 The slide trumpet enjoyed less success in France, though it is frequently mentioned in connection with Francois Georges Auguste Dauverne (1800-1874),4 who proclaimed an essential improvement of this system around 1840.5 Dauverne's slide operated like that of a trombone, and his instrument had no resetting mechanism, though it did have a locking mechanism. It offered an alternative to the shorter crooks when natural tones -
A Possible Sighting of the Renaissance Slide Trumpet
90 HISTORIC BRASS SOCIETY JOURNAL A CHANCE ENCOUNTER WITH A UNICORN? A POSSIBLE SIGHTING OF THE RENAISSANCE SLIDE TRUMPET Keith McGowan n 1940, Curt Sachs suggested that the tromba da tirarsi of Bach’sBach’s time had its ancestryancestry in a 15th-century trumpet that played with shawms, creating the idea of the Renaissance I slide trumpet or Zugtrompete.1 While musicologists warmed to the idea of a proto- trombone, its reception among performers was more guarded. Early attempts to revive the instrument resulted in reconstructions that were to become the nightmare of many a sackbutist, giving rise to apocryphal tales of careers cut short by a too-hasty return to fi rst position. The sound of a bassedanse drumdrum introductionintroduction can still make some trombonists’ heart miss a beat. Imagine the relief among the trombone-playing fraternity when an article appeared setting out the thesis that the 15th-century slide trum- pet was a modern myth. There certainly was a case to answer, for though we had for years chosen to see telescopic slides being worked on the trumpets that play with the shawms of the period, these trumpets could be interpreted as fanfare or natural trumpets. And besides, could anyone fi nd an unequivocal description of a 15th-century trombone with a single slide? It seemed that, in our enthusiasm for reviving the 15th-century ceremonial wind ensemble, we may have created a chimera. That was twelve years ago. Ironically, the state of the slide trumpet is today stronger than ever. In response to the attempt to exclude the slide trumpet from the history of the trombone, a number of writers have produced vindications of the instrument. -
Physics of Musical Sound Shofar Corneø Serpent Sackbuts Keyed
Serpent Physics of Musical Sound Brass Instruments Class 17 Read Chapter 11 Quiz Today 8/30/01 Physics 120 8/30/01 Physics 120 Shofar Sackbuts 8/30/01 Physics 120 8/30/01 Physics 120 Corne? Keyed Bugle 8/30/01 Physics 120 8/30/01 Physics 120 Ophicleides Euphonia & Baritone 8/30/01 Physics 120 8/30/01 Physics 120 Trumpet vs. Cornet Brass Instruments • Two basic families with rather liJle difference in tone – Straight tubes with some conical or flared secons • Trumpet, Trombone, French Horn • Brighter sound. Used in orchestras where brightness is needed to cut through mass of other instruments. – Conical tubes with some flared or otherwise slightly altered secMons • Cornet, Flugel horn, alto horn, baritone, Euphonium, Tubas • Mellower sound. Used in ensembles (brass bands, silver bands) where the sound blends beJer than trumpets etc. would. 8/30/01 Physics 120 8/30/01 Physics 120 Brass Instruments • Lip reed – Player can alter tension in lip over a very wide range. Gives the player control over natural frequency and over Q not available to other reed players. • Mouthpiece – Surface to rest lips, resonator chamber with a sharply constricted opening, conical tube to match to bore of instrument • Body tube – Basically straight or basically cylindrical according to family. – Length determines pitch of instrument. As usual, the longer the tube the larger the bore to allow low frequencies to get out. • Bell – Couples tube to the outside world. 8/30/01 Physics 120 8/30/01 Physics 120 Changing the Note • Have to alter length of tube. Two methods available – Slides/Valves change physical length of tube • Trumpet, French Horn, all the Cornet/Tuba family use valves. -
J a N U a R Y 2 0
january 2006 Published by the American Recorder Society, Vol. XLVII, No. 1 XLVII, Vol. American Recorder Society, by the Published The world’s most dependable and chosen recorders are also the most playful that students are sure to enjoy. Sour Apple Green, Cotton Candy Blue and Bubble Gum Pink colors add that extra fun for students beginning their music education. Yamaha 20 Series Recorders are specially designed for beginning students and are easy to play in every range. They offer the ideal amount of air resistance for effortless control and an accuracy of intonation that provides a rich, full sound. Playful with serious quality Yamaha is known for, Yamaha Recorders are the thoughtful choice for teachers that care. ©2006 Yamaha Corporation of America.©2006Yamaha All rights reserved. www.yamaha.com Edition Moeck 2825 Celle · Germany Tel. +49-5141-8853-0 www.moeck.com EDITOR’S ______NOTE ______ ______ ______ ______ Volume XLVII, Number 1 January 2006 he end of one year and the beginning of FEATURES Ta new one is often a time when a Articulation: The Inside Story . 12 person reflects on the world, on hopes for Demystifying something that we all have to do on recorder, improving that world, and on each indi- by Scott Reiss vidual’s ability or inability to make the reality match the ideal. For some, this Renaissance Recorder Makers . 19 process must be more painful than for 10 by Adrian Brown and David Lasocki others. I think this was the case with Scott Reiss, who lost his battle with mental ill- Dynamo for RecorderDay! . -
1-2016 It's Instrumental, My Dear Watson: a Collective Investigation of Early Instrumental Practices Jillissa A
Cedarville University DigitalCommons@Cedarville Music and Worship Student Publications Student Scholarly Activity 2-1-2016 It's Instrumental, My Dear Watson: A Collective Investigation of Early Instrumental Practices Jillissa A. Brummel Cedarville University, [email protected] Nate Chester Cedarville University, [email protected] Joshua Drake Cedarville University, [email protected] Janelle Finley Cedarville University, [email protected] Josiah D. Keith Cedarville University, [email protected] See next page for additional authors Follow this and additional works at: http://digitalcommons.cedarville.edu/ music_and_worship_student_publications Part of the Musicology Commons, Music Performance Commons, and the Music Practice Commons Recommended Citation Brummel, Jillissa A.; Chester, Nate; Drake, Joshua; Finley, Janelle; Keith, Josiah D.; Lyons, Jonathan; Plumley, Sarah R.; Saur, Kirsten; and Stevenson, Rachel, "It's Instrumental, My Dear Watson: A Collective Investigation of Early Instrumental Practices" (2016). Music and Worship Student Publications. 7. http://digitalcommons.cedarville.edu/music_and_worship_student_publications/7 This Research Report is brought to you for free and open access by DigitalCommons@Cedarville, a service of the Centennial Library. It has been accepted for inclusion in Music and Worship Student Publications by an authorized administrator of DigitalCommons@Cedarville. For more information, please contact [email protected]. Authors Jillissa A. Brummel, Nate Chester,