Teaching Younger Horn Players

Total Page:16

File Type:pdf, Size:1020Kb

Teaching Younger Horn Players Teaching Younger Horn Players: A Presentation for the 2006 Louisiana Music Educators Conference November 20th, 2006 Baton Rouge, LA Presenter: James Boldin, Assistant Professor, University of Louisiana Monroe Challenge Key Concepts Options References Playing position and posture. 1) Bring the horn to you. 1) 3/4 size horns--various General Horn Information manufacturers including Holton Farkas, Philip. The Art of 2) Sit at least a few inches away from the back of and Ricco Kuehn French Horn Playing. the chair. Evanston, IL: Summy- 2) Horn support to allow "off the Birchard, 1956. 3) Keep feet flat on the ground. leg" playing. Hill, Douglas. Collected 4) Let the angle of the leadpipe match as closely as Thoughts on Teaching and possible the structure of your jaw and teeth. Since Learning, Creativity and many horn players have at least a slight overbite, a Horn Performance. Miami: proper playing position usually results in a Warner Bros. 2001. descending leadpipe angle. 3/4 Size Horns 5) Make sure the bell of the instrument is not facing http://www.gleblanc.com/ins directly into your body, as this will result in an truments/query.cfm?model= overly muffled sound. H652M 6) If your playing position looks or feels http://www.ricco-kuehn.de/ 1 uncomfortable and awkward, then chances are it is not the most efficient one for you. Horn Support http://www.paxman.co.uk/ 7) Feel the “sits bones” as you find a balanced and 2 relaxed sitting position. http://www.ergobone.com/Er goHorn/eh-mainpage2.htm 3) Horn holding strap or left hand support. Holding Strap/Left Hand 4) Adjust valve levers to fit size of Support hand. http://store.osmun.com/brow se.cfm/2,62.html 5) Use clarinet thumb rests to extend valve levers. 1 Image Obtained from Pip Eastop, "My Inventions: The PipStick," Professor Pip Eastop, <http://www.pyp.f2s.com/framesets/inventionsframeset.htm>. 2 Ibid. 2 Challenge Key Concepts Options References Breathing 1) At the beginner and intermediate level, There are numerous types of The following texts contain focus on a sensation and a few useful images breathing exercises, including those excellent information on rather than on detailed physiological developed by Arnold Jacobs, breathing as well as explanations. Douglas Hill, Verne Reynolds, and detailed breathing Sam Pilafian. exercises. 2) Balloon imagery (ala Arnold Jacobs) As a balloon fills with air, it naturally expands If practiced regularly, breathing Farkas, Philip. The Art of without needing to be forced out, and as it exercises can help increase Brass Playing. Rochester, expels air it naturally contracts. Another efficiency in playing and help NY: Wind Music, Inc. helpful image is a bellows. develop tone, range, and endurance. 1962. 3) Feel the sensation of air rushing across the Breathing exercises ought to be Hill, Douglas. Warm-ups bottom of the mouth, like a reverse waterfall. practiced as a precursor to warming and Maintenance Sessions up on the instrument, or as a for the Horn Player. Eau 4) Thinking round syllables on the inhale relaxation exercise. Claire, WI: Really Good such as "how," "hoh," or "hah" help to keep Music, 2004. the throat and oral cavity open. (As opposed Numerous possibilities exist for to syllables such as "hee" ) incorporating breathing exercises Pilafian, Sam. The into an ensemble format, both as a Breathing Gym. Fort 5) The sensation of a relaxed, full breath is warmup routine and as a relaxation Wayne, IN: Focus on similar in many ways to an open mouthed technique prior to performances. Excellence, 2002. [Includes yawn. DVD and 32 page guide] Feel free to create your own 6) Remember that the diaphragm is an variations on well known breathing Reynolds, Verne. The involuntary muscle. regimens, as well as to create Horn Handbook. Portland, wholly original exercises. OR: Amadeus Press, 1997. 7) Remember that playing with good "air support" does not require a tight or tensed stomach and abdomen. 3 Challenge Key Concepts Options References Embouchure 1) One of the main purposes of the 1) Saying the words “emm” while Clevenger, Dale. “Basics embouchure is to allow for the formation of pointing the chin towards the for Beginning Horn an aperture. The function of the aperture is to ground can be effective in forming Students.” The vibrate, in much the same way that the double a working embouchure. Instrumentalist 51, no. 8 reed on an oboe or bassoon does. (March 1997): 34, 36, 38, 2) Feel the lower teeth firmly 40, 42. 2) Philip Farkas describes a properly formed behind the lower lip—avoid letting horn embouchure as a “puckered” smile— the flesh just below the lower lip Ericson, John. with neither too much lip in the mouthpiece bunch up. “Embouchure 101” and (pucker) or too little (smile). “Embouchure 201,” Horn 3) Practice “free buzzing” as an aid Articles Online. 3) Firm (but not flexed) corners and a flat chin to embouchure formation—if you <http://www.public.asu.edu/~j are both key physical features of a well can produce a decent free buzz, qerics/Kopprasch_zone.htm>. formed embouchure. then you are forming a basically correct embouchure. Farkas, Philip. The Art of Brass Playing. Rochester, 4) A common problem that NY: Wind Music, Inc. becomes apparent when young 1962. students attempt to “free buzz” is a lack of lower chin control—the chin Farkas, Philip. The Art of and lower lip have a tendency to French Horn Playing. bunch and creep up. One way to Evanston, IL: Summy- assist in producing a free buzz is to Birchard, 1956. place the index finger directly on the lower lip and chin, holding it in Hill, Douglas. Collected position. Muscular development Thoughts on Teaching and and control will gradually replace Learning, Creativity and the need for the index finger. Horn Performance. Miami: 3 Warner Bros. 2001. 5) To initiate a free buzz, imagine 4) Especially at the beginner level, work to Robinson, William C. “The identify and eliminate any air pockets that spitting a hair off the end of your tongue, or spitting out a seed. Beginning Horn may form behind the upper or lower lip or in Embouchure-Pitfalls, the cheek area. The flesh of both the upper Problems, and Progress.” and lower lip should rest against the upper The Instrumentalist 22, no. and lower teeth respectively, with no air 4 (Nov. 1967): 68. behind. 3 Philip Farkas, The Art of Brass Playing (Rochester, NY: Wind Music, Inc., 1962), 18. 4 Challenge Key Concepts Options References Mouthpiece Placement 1) The age old prescription of 2/3 upper lip 1) To find the proper proportion of Ericson, John. “Embouchure and 1/3 lower lip really does work, although upper to lower lip, first lightly 101” and “Embouchure 201,” jaw and lip structure do play a very significant moisten the lips and form the Horn Articles Online. role in the specific placement for an embouchure described in the previous <http://www.public.asu.edu/~jqerics/ individual player. discussion. Allow the mound of flesh Kopprasch_zone.htm>. on the upper lip to rest just inside the 2) For players with thin to medium lips, lining mouthpiece rim. Farkas, Philip. The Art of Brass up the bottom of the mouthpiece with the Playing. Rochester, NY: Wind lower outside edge of the bottom lip can help 2) Think of the lower lip as an anchor Music, Inc. 1962. in finding a correct embouchure placement. point for the mouthpiece, while the upper lip acts as a “hook” for the Farkas, Philip. The Art of French 3) For players with thick or full lips, the upper 2/3 or so of the mouthpiece. Horn Playing. Evanston, IL: bottom of the mouthpiece may not need to Summy-Birchard, 1956. rest on the outside edge of the lower lip, but 3) Consistent practice with a mirror somewhere above it. on the stand is very important for Hill, Douglas. Collected Thoughts beginners, until the embouchure on Teaching and Learning, 4) It is important that the angle of the muscles become accustomed to a Creativity and Horn mouthpiece follow the natural contour of the regular mouthpiece position. Performance. Miami: Warner player’s face. Since most people have at least Bros. 2001. a slight overbite, this results in a descending 4) A good test of mouthpiece angle. Players with even bites or under bites placement is being able to produce a Matlick, Eldon. “Solving Horn will have straight to slightly ascending fairly loud, “buzzy” buzz. A buzzy Mysteries.” The Instrumentalist mouthpiece angles. buzz on the mouthpiece is one 48, no. 9 (April 1994): 34-49. produced by lots of air, and one in 5) Moist lips are important in finding a which the buzz sounds free and open, Perrini, Nicholas. “Basics for comfortable and workable mouthpiece rather than tight and constricted. Beginning French Horn position. Moistening the lips allows the Students.” The Instrumentalist 24, mouthpiece to settle into the “sweet spot,” as no. 7 (Feb. 1970): 64. well as keeping the embouchure from “sticking” during lip slurs or wide leaps. 6) Many young players end up with too little top lip in the mouthpiece, making it difficult to produce higher pitches or a characteristic tone on the instrument. 5 Challenge Key Concepts Options References Right Hand Position 1) Along with embouchure formation, mouthpiece 1) Allow the right hand to conform to placement, and breath control, right hand position is the shape and size of the bell—this Farkas, Philip. The Art of important in producing a characteristic sound on the will result in a slightly rounded shape French Horn Playing. horn. An improper position can affect tone quality, when the back of the hand is pressed Evanston, IL: articulation, and intonation.
Recommended publications
  • Applied Anatomy in Music: Body Mapping for Trumpeters
    UNLV Theses, Dissertations, Professional Papers, and Capstones May 2016 Applied Anatomy in Music: Body Mapping for Trumpeters Micah Holt University of Nevada, Las Vegas Follow this and additional works at: https://digitalscholarship.unlv.edu/thesesdissertations Part of the Music Commons Repository Citation Holt, Micah, "Applied Anatomy in Music: Body Mapping for Trumpeters" (2016). UNLV Theses, Dissertations, Professional Papers, and Capstones. 2682. http://dx.doi.org/10.34917/9112082 This Dissertation is protected by copyright and/or related rights. It has been brought to you by Digital Scholarship@UNLV 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 need to 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 UNLV Theses, Dissertations, Professional Papers, and Capstones by an authorized administrator of Digital Scholarship@UNLV. For more information, please contact [email protected]. APPLIED ANATOMY IN MUSIC: BODY MAPPING FOR TRUMPETERS By Micah N. Holt Bachelor of Arts--Music University of Northern Colorado 2010 Master of Music University of Louisville 2012 A doctoral project submitted in partial fulfillment of the requirements for the Doctor of Musical Arts School of Music College of Fine Arts The Graduate College University of Nevada, Las Vegas May 2016 Dissertation Approval The Graduate College The University of Nevada, Las Vegas April 24, 2016 This dissertation prepared by Micah N.
    [Show full text]
  • 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
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 1 TROMBONE EMBOUCHURE TYPE SELF-ASSESSMENT by DANIEL K
    TROMBONE EMBOUCHURE TYPE SELF-ASSESSMENT Daniel Twentey TMUS 8249 Pedagogy Practicum TROMBONE EMBOUCHURE TYPE SELF-ASSESSMENT by DANIEL K. TWENTEY B.A., Virginia Polytechnic Institute and State University, 2010 M.A., Pennsylvania State University, 2012 A dissertation project submitted to the University of Colorado Boulder in partial fulfillment of the requirements for the degree of Doctor of Musical Arts College of Music 2020 Committee Members: Dr. William Stanley Dr. David Rickels Dr. Ryan Gardner Prof. Michael Dunn Dr. Donald McKinney 1 TROMBONE EMBOUCHURE TYPE SELF-ASSESSMENT Daniel Twentey TMUS 8249 Pedagogy Practicum ABSTRACT Twentey, Daniel K. (DMA, Music) Trombone Embouchure Type Self-Assessment Thesis directed by Dr. William Stanley The focus of this study is to create a self-assessment tool with which the user may identify their own embouchure type. The assessment criteria and embouchure types are derived from the embouchure pedagogy of Donald Reinhardt as revised and clarified by Doug Elliott and David Wilken. Three possible embouchure types include Very High Placement, Medium High Placement, and Low Placement. This study utilizes audio/video recordings, user-recorded musical examples, pre-recorded musical examples, self-observation analysis questions, external observation questions, and comparative analysis questions for assessment. The resulting study complements my other dissertation study, Selected Published Literature Concerning Trombone Embouchure: An Evaluation and Reference (2020), which provides accessible information about embouchure-related content in trombone pedagogical literature. In conjunction, these two studies allow trombonists and teachers to filter the reviewed texts according to their compatibility with each of the specified embouchure types. 2 TROMBONE EMBOUCHURE TYPE SELF-ASSESSMENT Daniel Twentey TMUS 8249 Pedagogy Practicum Outline of Assessment Contents I.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • A Digital Synthesis Model of Double-Reed Wind Instruments
    EURASIP Journal on Applied Signal Processing 2004:7, 990–1000 c 2004 Hindawi Publishing Corporation A Digital Synthesis Model of Double-Reed Wind Instruments Ph. Guillemain LaboratoiredeM´ecanique et d’Acoustique, Centre National de la Recherche Scientifique, 31 chemin Joseph-Aiguier, 13402 Marseille cedex 20, France Email: [email protected] Received 30 June 2003; Revised 29 November 2003 We present a real-time synthesis model for double-reed wind instruments based on a nonlinear physical model. One specificity of double-reed instruments, namely, the presence of a confined air jet in the embouchure, for which a physical model has been proposed recently, is included in the synthesis model. The synthesis procedure involves the use of the physical variables via a digital scheme giving the impedance relationship between pressure and flow in the time domain. Comparisons are made between the behavior of the model with and without the confined air jet in the case of a simple cylindrical bore and that of a more realistic bore, the geometry of which is an approximation of an oboe bore. Keywords and phrases: double-reed, synthesis, impedance. 1. INTRODUCTION The physical model is first summarized in Section 2.In order to obtain the synthesis model, a suitable form of the The simulation of woodwind instrument sounds has been in- flow model is then proposed, a dimensionless version is writ- vestigated for many years since the pioneer studies by Schu- ten and the similarities with single-reed models (see, e.g., macher [1] on the clarinet, which did not focus on digital [7]) are pointed out.
    [Show full text]
  • 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.
    [Show full text]