Instruments of the Beginning Band
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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. -
The PAS Educators' Companion
The PAS Educators’ Companion A Helpful Resource of the PERCUSSIVE ARTS SOCIETY EDUCATION COMMITTEE Volume VIII Fall 2020 PERCUSSIVE ARTS SOCIETY 1 EDUCATORS’ COMPANION THE PAS EDUCATORS’ COMPANION PERCUSSIVE ARTS SOCIETY EDUCATION COMMITTEE ARTICLE AUTHORS DAVE GERHART YAMAHA CORPORATION OF AMERICA ERIK FORST MESSIAH UNIVERSITY JOSHUA KNIGHT MISSOURI WESTERN STATE UNIVERSITY MATHEW BLACK CARMEL HIGH SCHOOL MATT MOORE V.R. EATON HIGH SCHOOL MICHAEL HUESTIS PROSPER HIGH SCHOOL SCOTT BROWN DICKERSON MIDDLE SCHOOL AND WALTON HIGH SCHOOL STEVE GRAVES LEXINGTON JUNIOR HIGH SCHOOL JESSICA WILLIAMS ALABAMA STATE UNIVERSITY EMILY TANNERT PATTERSON CAMBRIDGE UNIVERSITY PRESS How to reach the Percussive Arts Society: VOICE 317.974.4488 FAX 317.974.4499 E-MAIL [email protected] WEB www.pas.org HOURS Monday–Friday, 9 A.M.–5 P.M. EST PERCUSSIVE ARTS SOCIETY 1 TABLE OF CONTENTS BUILDING A STRONG FOUNDATION OF THE SNARE DRUM FULCRUM 3 by Dr. Dave Gerhart CONSISTENCY MATTERS: Developing a Shared Vernacular for Beginning 6 Percussion and Wind Students in a Heterogeneous Classroom by Dr. Erik M. Forst PERFECT PART ASSIGNMENTS - ACHIEVING THE IMPOSSIBLE 10 by Dr. Joshua J. Knight TOOLS TO KEEP STUDENTS INTRIGUED AND MOTIVATED WHILE PRACTICING 15 FUNDAMENTAL CONCEPTS by Matthew Black BEGINNER MALLET READING: DEVELOPING A CURRICULUM THAT COVERS 17 THE BASES by Matt Moore ACCESSORIES 26 by Michael Huestis ISOLATING SKILL SETS, TECHNIQUES, AND CONCEPTS WITH 30 BEGINNING PERCUSSION by Scott Brown INCORPORATING PERCUSSION FUNDAMENTALS IN FULL BAND REHEARSAL 33 by Steve Graves YOUR YOUNG PERCUSSIONISTS CRAVE ATTENTION: Advice and Tips on 39 Instructing Young Percussionists by Jessica Williams TEN TIPS FOR FABULOUS SNARE DRUM FUNDAMENTALS 46 by Emily Tannert Patterson ADDITIONAL RESOURCES 49 2 PERCUSSIVE ARTS SOCIETY EDUCATORS’ COMPANION BUILDING A STRONG FOUNDATION OF THE SNARE DRUM FULCRUM by Dr. -
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. -
Band Works Arranged for Orchestra
Nieweg Chart Band Works transcribed for Orchestra AYERS, Jesse (b Knoxville TN, 26 May 1951). American Jericho for Orchestra and Narrator <2009> Original for band <2004-05> orchestrated by the composer <2009> opt SATB chorus 3[1.2.3/pic] 3[1.2.Eh] 3[1.2.bcl] 3[1.2.cbn] — 4 4[incl 2offstage] 3 1 — 3 or 6perc — hp — pf — str perc: hi-hat, tri, tambn, glock, xyl, marim, chimes, templeblks, whip, bongos, claves, vibrslp, güiro, 3bd or lg tomtoms, 4sus cyms, mark tree or windchimes, 3-7 whistling tubes Audience participates with shouts, simple hand gestures, and singing of a hymn-phrase. There are 2 versions of the percussion parts: one for 6 players and one for 3 players; neither involves timpani. Source of text: Biblical story from Joshua 6. Language: English This piece uses several extra "performers" surrounding the audience twirling whistling tubes. These performers can be guests such as local students, board members, or dignitaries. The tubes are available from toy stores and online retailers like Amazon. A Google search for "whistling tubes" should locate them. Dur: 16’ Score for sale. Parts on rental Pub: Jesse Ayers Music, 228 17th Street NW. Canton, OH 44703 [email protected] | http://jesseayers.com http://www.jesseayers.com/jericho-orch.html#sthash.vcSeClb5.dpbs Akedah for Orchestra and Narrator <2018> Original for band < 2013> Orchestrated by the composer <2018> 2 2[1.(2.opt)] 2 2[1.(2.opt) ] — 4 3 3[1.2.(3opt)] 1 — tmp+5 — hp(opt) — pf(opt) — org(opt) — str — SATB(opt ) — audience sings hymn at end perc: glock, vib, marim, chimes, 2congo drums, tambn, finger cymbs, tri, sus cym, crash cyms, bd, tam-tam Commission: by the Wisconsin Evangelical Lutheran Synod Area Lutheran High School Association for the 2013 WELS National Band Festival held at Martin Luther College in New Ulm, MN. -
Concert Band Handbook
North Central Silver Knights Concert Band Handbook Jonas E. Nix, Director of Bands [NCHS] Isaac P. Pitts, Director of Bands [NCMS] [email protected] / [email protected] Statement of Purpose and Policy The purpose of this handbook is to provide valuable information to parents and students about the North Central Band Program. Members should familiarize themselves with this handbook and procedures. The intention of this handbook is to make certain that all members and parents of our band are well informed. This handbook will address questions and concerns in regards to the policies, procedures, calendars, etc. of our band. If a problem should arise, the director should be consulted for an explanation. All information in this handbook correlates with the North Central Middle and High School handbooks and Kershaw County School District Guidelines. Should there be a difference or conflict the District Handbook will be followed. In order to assist band members and parents in understanding areas of responsibility, a statement of band policy is set forth. Becoming familiar with this policy will enable each individual to make the most of the opportunity to be a member of the North Central Band Program, enhancing skills as a student musician. Members must develop a high sense of purpose toward the goals which they are willing to work. RESPONSIBILITY is the focus behind any level of achievement within this program. We intend to conduct ourselves in a manner that will facilitate all students in learning and bettering themselves. Objectives / Goals of the Band Program As the director of the North Central Band Program I have the following goals and expectations for those of you who choose to be members: 1. -
Bringing the Spirit
Linfield Magazine Volume 16 Number 1 Fall 2019 Article 15 Fall 2019 Bringing the Spirit Travis McGuire Linfield College Follow this and additional works at: https://digitalcommons.linfield.edu/linfield_magazine Recommended Citation McGuire, Travis (2019) "Bringing the Spirit," Linfield Magazine: Vol. 16 : No. 1 , Article 15. Available at: https://digitalcommons.linfield.edu/linfield_magazine/vol16/iss1/15 This article is brought to you for free via open access, courtesy of DigitalCommons@Linfield. orF more information, please contact [email protected]. Bringing the spirit From the trill of a piccolo to the ate director of bands at the University would pay for itself relatively quickly. He chose popular songs that students booming bass drum, marching bands of Kansas, who has led the Marching “To do this right, we needed a plan, and crowds recognized, such as Bruno Mars’ are galvanizing communities and rekin- Jayhawks since 2011. He acknowledges and we had to hire someone who knew Uptown Funk, and incorporated movements dling pride among students and alumni. that when the band plays the fight song, what they’re doing,” recalls Hopp. into their routines based on the choreography On an overcast fall Friday night, 26 it rekindles a sense of pride and belong- Enter Wollam, who became Linfield’s from the music video. students gather on the Maxwell Field ing for alumni. But, Smith concedes, first marching band director since Clifford Now in year two, word is spreading about sideline. They begin their three-hour marching bands tend to be associated Elliott led the band beginning in 1933. the Linfield program. In October, Linfield rehearsal with a light jog followed by with large universities and massive Wollam hit the ground running in the hosted the Sherwood Show, a marching band stretching. -
Drum Major Audition Information 15
2015-2016 Drum Major Audition Information *Auditions held after school the week of April 27-May 1, 2015* Role and Responsibilities of a Drum Major The drum major is the leader of the marching band during rehearsals and in performance. His/her job is to carry- out the instructions of the band director and other instructional staff regarding what needs to be done with the band. Some examples of what the drum major does include: • Getting the band out to the rehearsal area, into the proper formation and ready to begin rehearsal. • Taking the band through warm-up exercises • Leading the band through practice runs • Helping rehearsals run smoothly and productively • Leading the band in performance • Adding to the overall showmanship of the band during performance with their own performance as the drum major • Setting the standard for discipline, bearing, and conduct for the members of the band to follow • Assisting in teaching marching to other members of the band • Conducting Pep tunes at the behest of the band director at football games • Leading the band in parade formation by marching in front of the first rank of instrumentalists. • Signaling percussion section to roll-off to play during a parade • Acting as the band’s representative at award ceremonies and special functions Characteristics of a Successful Drum Major Effective drum majors have a number of things in common: • They have a good understanding of music • They are skilled as a field conductor • They have developed a high level of skill with a drum major baton or mace • They have exceptional marching technique • Their vocal commands are loud and easily understood • They are highly responsible and reliable • They are dedicated to having the band succeed • They work well with both the band director and the membership of the band • They know how to teach and assist other members of the band • They have the ability to inspire the band in performance Term of Service Drum Majors are selected for one school year. -
Baritones and Euphoniums*
OpenStax-CNX module: m12650 1 Baritones and Euphoniums* Catherine Schmidt-Jones This work is produced by OpenStax-CNX and licensed under the Creative Commons Attribution License 1.0 1 Introduction Baritones and euphoniums are aerophones in the brass family. They are closely related instruments, both fairly large and with a medium-low range. They are generally not considered orchestral instruments, but are an important part of the Western band tradition. 2 The Instruments Like other instruments in the brass family, baritones and euphoniums are played by buzzing the lips against a cup mouthpiece. The air then moves through the brass tubing and leaves through the bell at the other end of the instrument. The valves change the playing length of the instrument, making it possible to play several harmonic series that together allow the instrument to play any chromatic note in its range. For more on how brass instruments work, please see Wind Instruments: Some Basics, Standing Waves and Wind Instruments, and Harmonic Series.) Baritones and euphoniums are valved brass instruments that have a range similar to the slide trombone, higher than a tuba and about an octave below the trumpet. The valved tenor-range brass instruments are a slightly confusing group of instruments. They are usually held upright, with the bell pointing either straight up or up-and-forward, but they may also be shaped like a very large trumpet, held horizontally with the bell pointing forward. They may have three, four, or sometimes even ve valves. Baritone and euphonium are recognized in Britain as being two dierent instruments, but in the U.S. -
CBA Drum Tuning
Hello band directors! I know you’re in the throw of marching band season and I wanted to help you with an easy task to improve the overall sound of your ENTIRE ENSEMBLE! I’ve seen a few groups this year and wanted to share some information about tuning the marching percussion section. First: consider the size of your ensemble. If your group is smaller, choose smaller bass drum sizes. The bigger drums will drown our your wind section and affect the balance of your group. Second: Tune the drums on a regular basis! I know you tune your wind section every day. Same should go for the percussion section. Third: Tips and tricks -I’ve included a link to the Evans Drumheads tuning guide which has great information! http://www.evansdrumheads.com/upload/ EVBR_MPSG07_Marching_Percussion_Survival_Guide_12562.pdf -A few things to add to the link -I tune bass drums to a major triad ex. 28” C, 24” G, 22” C, 20” E and 18” G -This might differ slightly depending on your drum sizes, head combination etc. -Tuning a major triad makes split playing more melodic and unison stronger -Most groups I’ve seen this year had bass drums with TOO LOW of a tuning scheme. This creates a low rumble which lacks clarity and over balances the wind section. -Also make sure your bass drums have proper dampening. Too much “boom” will again over balance the winds and create a lack of clarity. The Evans MX series heads are a great start! Fourth: Front Ensemble -Tune for articulation, balance and sound quality -I tune concert bass drums to the same root pitch as the triad in the marching basses -Keep timpani in tune DAILY! Weather changes will affect the tuning drastically -give your student/staff time in the lot on show days to “clear” timpani heads Happy tuning and good luck with your season! Shilo Stroman www.shilostroman.com www.percussionloft.com. -
Thesis- Pedagogical Concepts for Marching Percussion
PEDAGOGICAL CONCEPTS 1 Running head: PEDAGOGICAL CONCEPTS PEDAGOGICAL CONCEPTS FOR MARCHING PERCUSSION SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF MUSIC EDUCATION: STUDIO PEDAGOGY EMPHASIS THOMAS JOHN FORD UNIVERSITY OF WISCONSIN-STEVENS POINT MAY, 2019 PEDAGOGICAL CONCEPTS 2 Abstract This document serves as a guide for recent music education graduates who are put in the position of having to teach marching percussion to students who have joined the marching band, specifically in the drumline. To have a well-rounded understanding of the drumline, teachers will need to know the instruments of the drumline, and the associated sticks and mallets. This document also discusses pedagogical concepts for all of the instruments, including playing techniques required to achieve a balanced sound throughout the ensemble, and how to properly care for marching percussion equipment. Keywords: marching percussion, drumline, battery, snare drums, tenor drums, bass drums, crash cymbals PEDAGOGICAL CONCEPTS 3 Table of Contents Abstract 2 Acknowledgements 5 List of Figures 8 Introduction 9 Chapter I: Marching Percussion Equipment 12 Snare Drums 12 Tenor Drums 14 Bass Drums 16 Crash Cymbals 17 Other Equipment 18 Chapter II: Pedagogical Concepts for Marching Percussion 21 Posture 21 Playing Positions 21 Grips and General Playing Techniques 25 Stroke Types and Dynamics 31 The Exercise and Technical Development Program 32 Timing Strategies 37 Chapter III: Marching Percussion Care and Maintenance 39 Changing and Replacing Heads 39 Repairing Broken and Loose Drum Equipment 40 Cymbal Straps 42 Cleaning and Storing Equipment 43 PEDAGOGICAL CONCEPTS 4 Conclusion 45 References 46 Appendix A 49 PEDAGOGICAL CONCEPTS 5 ACKNOWLEDGEMENTS There are so many people who I want and am obligated to thank for helping me in this whole process of graduate school and writing my thesis. -
Marching Band Handbook ______Foreword
“All-American” MARCHING BAND HANDBOOK PURDUE “ALL-AMERICAN” MARCHING BAND HANDBOOK _____________________________________________________________________________________________ FOREWORD This booklet is an addendum to the “All-American” Bands and Orchestras General Information Handbook. It is not intended as a replacement for that handbook, but as an additional resource for members of the “All-American” Marching Band containing information of a nature that is applicable specifically to the marching band. It is assumed that all marching band members will have read the General Information Handbook, as it contains important information on matters such as membership and enrollment, rehearsal and performance procedures, equipment, attendance and grading, administrative organization, and awards. Specific policy matters that directly affect the membership of the marching band are discussed in the General Information Handbook, and all members will be expected to be familiar with such information. The “All-American” Marching Band Handbook includes a list of marching band fundamentals, information on reading charts, and specific discussions of special policy matters that affect only the marching band. A thorough understanding of this information along with the general information provided in the regular handbook will enable you to function as a knowledgeable, contributing member of the “All-American” Marching Band. Membership in the “All-American” Marching Band is an honor and a privilege, and makes you a member of a unique musical organization with over 130 years of service to Purdue University. Your commitment and dedication to the traditions and service of the marching band will insure the continuing role of this organization as the major force in building and maintaining a love and spirit “for the honor of old Purdue”! 1 PURDUE “ALL-AMERICAN” MARCHING BAND HANDBOOK _____________________________________________________________________________________________ TABLE OF CONTENTS SECTION TOPIC PAGE I. -
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